BARRY LAWRENCE RUDERMAN

ANTIQUE MAPS

1
Catalog List
1 . (#76337) - [An Archive of 18th-Century Manuscript Maps of the 5th Arrondissement in Paris] SOLD
2 . (#65594) - [France] Tertia Europa Tabula $ 14,500.00
3 . (#77258) - [Grand View of Paris] Lutetiae, vulgo, Paris, Urbis Galliarum Primariæ, Non
$ 95,000.00
Europæ Solius, Sed Orbis Totius Celeberrimæ Prospectus
4 . (#72051) - Navigatio ac Itinerarium Iohannis Hugonis Linscotani in Orientalem Sive
$ 110,000.00
Lusitanorum Indiam...
5 . (#68379) - Partial Eclipse of the Moon $ 12,500.00
6 . (#74482) - Vue generale des Palais De L'Exposition Universelle De 1878 . . . $ 2,400.00
7 . (#72783) - Atlas Pintoresco e Historico de los Estados Unidos Mexicanos por Antonio Garcia
SOLD
Cubas . . . 1897
8 . (#64753) - [Tabula Moderna Francie] $ 6,400.00
9 . (#64335) - (Separately Published Ortelius Map) Gallia SOLD
10 . (#74213) - [France] Totius Galliae Exactissima Descriptio . . . M. D. LXVI SOLD
11 . (#75188) - Galliae Regni Potentis, Nova Descriptio, Auctore Francisco Hogenbergio SOLD
12 . (#75195) - Les plans et pro ls de toutes les principales villes et lieux considerables de
France : Ensemble les cartes generales de chacune Province: & les particulieres de chaque $ 3,500.00
Gouvernement d'icelles
13 . (#75441) - Cartes generales des provinces de France et Espagne [bound with] Plans et
$ 5,000.00
Pro ls des Principales Villes du Duché de Lorraine
14 . (#74829) - Souvenir de L'Exposition Universelle Paris 1889 | Esplanade des Invalides |
$ 950.00
Grand-Hotel
15 . (#76548) - Exposition Universelle Paris 1900 SOLD
16 . (#76574) - Paris (with Montgol er's Hot Air Balloon) SOLD
17 . (#56608) - (Atlas) Cartes marines dressées au depost des cartes et plans de la marine. SOLD
18 . (#72495) - Geographia Universalis, Vetus et Nova, Complectens Claudii Ptolemaei
$ 95,000.00
Alexandrini Enarrationis Libros VIII.
19 . (#75326) - Abrege du theatre D'Ortelius, Contenant la description des principales parties &
SOLD
regions du monde, representees en petites cartes, & illustrees de sommaires expositions
20 . (#71295) - (Caert-Thresoor) P. Bertii Tabularum Geographicarum Contractarum Libri
SOLD
Quinque, Cum lueulentis Singularum Tabularum explicationibus. Editio Tertia.
21 . (#69477) - L'Europe en Plusierus Cartes Nouvelles et Exactes [bound with] L'Asie en
Plusieurs Cartes Nouvelles et Exactes [and] L'Afrique en Plusieurs Cartes Nouvelles et Exactses $ 12,500.00
[and] L'Amerique en Plusieurs Nouvelles et Exactes
22 . (#68884) - Description de tout L'Univers en plusieurs cartes, & en divers traitez de
SOLD
Geographie et d'Histoire ... par Mrs Sanson Pere & Fils.
23 . (#61256) - Introduction à la géographie en plusieurs cartes avec leur explication. $ 7,800.00
24 . (#71410) - (World War II - Operation Dragoon) Rade D'Agay Top Secret - Bigot SOLD
25 . (#68174) - (World War II - The Liberation) Engineers in France | Engineers in Belgium |
SOLD
Engineers on the German Border
26 . (#68380) - The Planet Mars $ 16,500.00
27 . (#68390) - The Planet Jupiter $ 17,500.00
28 . (#68384) - The Planet Saturn $ 16,500.00
29 . (#68382) - Solar Protuberances. $ 14,500.00
30 . (#68386) - The November Meteors $ 9,500.00
31 . (#75613) - La vera descritione, di tutta la Francia, & la Spagna, & la Fiandra ... MDLIIII SOLD
32 . (#74214) - Totius galliae descriptio, cum parte Angliae, Germaniae, Flandriae, Brabantiae,
$ 9,500.00
Italiae, Romam usque
33 . (#75555) - Description du pais Blaisois SOLD
34 . (#61022) - Nova Haec Tabula Galliae . . . SOLD
35 . (#68100) - (Apollo 13 Atlas) Lunar Orbit Scienti c Visual Observation Graphics for Apollo
$ 4,200.00
Mission 13 April 11, 1970 Launch Date
36 . (#68101) - [Apollo 14 Atlas, Images of the Fra Mauro Region and Geologic Explanation] $ 2,400.00
37 . (#68099) - (Apollo 15 EVA Atlas) Hadley-Apennine Landing Site Apollo 15 - 1:12,500 and
$ 2,200.00
1:25,000
38 . (#52293op) - [The First Maps Printed Color] Cartes en Couleur des Lieux Sujets aux
tremblements de Terre Dans toutes les parties du Monde Selon le Sisteme de l impulsion $ 17,500.00
Solaire
39 . (#76991) - Globe de la Lune Dressé sous la direction de Camille Flammarion Par C.M.
SOLD
Gaudibert E. Bertaux Editeur à Paris
 BARRY LAWRENCE RUDERMAN

ANTIQUE MAPS

2 3
 Contents

1 | 1739 Manuscript Archive 14 | 1889 L’Exposition Universelle Paris 27 | Trouvelot Jupiter

6 40 72

2 | 1482 Ulm France 15 | 1900 Exposition Universelle Paris 28 | Trouvelot Saturn

10 42 74

3 | Berey View of Paris 16 | Les Montgolier’s de Paris 29 | Trouvelot Sun Flare

14 44 76

4 | 1514 Linschoten 17 | Bellin Carte Marine 30 | Trouvelot Meteor Shower

18 48 78

5 | Trouvelot Lunar Eclipse 18 | 1540 Münster 31 | Tutta la Francia

22 52 80

6 | 1878 Palais de l’Exposition Universelle 19 | French Language Ortelius 32 | Zenoi France

24 56 82

7 | Atlas Pintoresco 20 | Claesz Caert-hresor 33 | Pais Blaisois

26 58 84

8 | 1507 France 21 | 1683 Sanson Pocket Atlas 34 | Visscher France

28 60 86

9 | Ortelius Separately-Published France 22 | 1700 Sanson Halma Atlas 36 | Apollo 13 Atlas

30 62 88

10 | Zaltieri France 23 | Moullart-Sanson Atlas Continentaux 37 | Apollo 14 Atlas

32 64 90

11 | Galliae Regni 24 | Operation Dragoon 38 | Apollo 15 Atlas

34 66 92

12 | Tassin Les Plans et Proiles 25 | WWII Engineers in France 39 | Pamphlet on the Sun and Earthquakes
36 68 94

13 | Tassin Cartes Generales de France 26 | Trouvelot Mars 39 | Flammarion Globe Lunaire

38 70 96
4 5
 1739 MANUSCRIPT MAPS OF THE QUARTIER LATIN
1 L’ A n c i e n n e A b b a i e d e S t e . G e n e v i e v e a n d t h e 1 7 3 9 S u r v e y
Paris / 1739 DESCRIPTION
An incomparable archive of watercolor and ink
DIMENSIONS hand-drawn surveys of blocks in the 5th arrondisse-
Various ment of Paris produced in 1739. These surveys
preserve the medieval layout of the streets of this
area, before the major processes of urban renewal
COLOR
undertaken in the 18th and 19th centuries.
Hand Colored
These pieces were produced as part of a
“plan-terrier” survey that sought to provide a full
CONDITION accounting of the lands gifted to the Abbey of Ste.
Good Genevieve (the predecessor church to the Pantheon)
by King Clovis I, the irst true Christian King of
STOCK NO. France. The verso of some of the maps are signed
76337 and dated, which show that the survey was conduct-
ed by Pierre Jubert de Basseville, King’s Engineer,
AUTHOR at the order of the canon regular of the Abbey.
Pierre Jubert de This work was commissioned by Pierre Sutaine, the
Basseville Abbott of Saint-Genevieve in 1739.
These surveys show stunning detail, mapping
every house, garden, building, and street in the area.
Some contain even more information: for example,
74511 names every single resident in a block. Many
of the other maps included in the collection name
major institutions and ascribe numbers to speciic
areas to denote ownership or property extent.
When overlain, the sheets combine to form a
nearly continuous manuscript map covering several
dozen blocks between the Seine River and the
Square Saint-Médard in the Quartier Latin of the
Fifth Arrondissement. Each individual piece varies
in scope, with some showing a single block and
others showing several. In addition, they vary in
reinement, from very detailed inished surveys to
rudimentary sketches. The scales used for each sheet
vary from approximately 1/400 to 1/700, with a
scale bar provided on nearly every sheet.
These maps were created through extremely
detailed and precise surveying. In many of the pieces
which possess more sketch-like qualities, radial lines
and other remnants of the methods used to accu-
rately measure and depict the area are preserved.
The Abbey of St. Genevieve, located at the heart
of the Fifth Arrondissement, was founded by Clovis
6 7
I and Clothilde (the irst true King and Queen of
France) and originally dedicated to Peter and Paul.
Sainte Genevieve, future patron saint of Paris, would
be buried under the church in 512, and the church
would soon after be rededicated in her honor.
By 1739, the Abbey would undertake an effort
to make an extremely detailed survey of the lands
they owned, as shown in the present collection.
These lands were gifted to the Abbey in its 5th-cen-
tury founding by Clovis I. We were able to locate
another collection related to this survey, a group of
44 manuscript sheets housed in the French National
Archives (reference: CP/N/IV/SEINE/4). Addi-
tionally, there is a 1905 reproduction of an 18th-cen-
tury manuscript map showing the completed survey,
which appears in a research text by Ernest Coye-
cque. The only evidence we can ind of surveying
the abbey is in a 17th century manuscript map, also
housed in the French National Archives.
By piecing together these lines of evidence, we
understand that this survey likely functioned primar-
ily as an accounting tool for the abbey, particularly
at a time when much was changing in the Quartier
Latin. The commissioner of the police had recently
renamed many of the streets in 1729, ten years prior
to the survey, which would have required updates of
previous maps in and of itself. Further, the Jardin
des Plantes, at the eastern edge of the Abbey’s land,
was expanding. Finally, and most importantly, suc-
cessive kings, starting with Louis XIV, had promised
to upgrade and expand the Abbey. These reasons
likely necessitated an accounting of the land and
wealth pertaining to the abbey.
Less than two decades after the completion of
this survey, Louis XV would undertake the task of
rebuilding the Abbey’s main church starting in 1755,
hiring Jacques-Germain Suflot to design the build-
ing. Having studied architecture in Rome, he would
create one of the most famous neoclassical buildings
in existence. The building wouldn’t be completed
until 1790, in the midst of the Revolution. When
inally completed, it would be rechristened the Pan-
theon and dedicated as a temple to freedom.
8 9
 FIRST MAP OF FRANCE PRINTED NORTH OF THE ALPS
2 Te r t i a E u r o p a Ta b u l a
Ulm / 1482 DESCRIPTION
Based upon the work of the 2nd Century Alexandri-
DIMENSIONS an polymath Claudius Ptolemy, this map is perhaps
19” x 14” the single most important and decorative map of the
region printed in the 15th Century.
The map depicts Roman Gaul, based upon the
COLOR
coordinates and geographical information com-
Hand Colored
piled by Ptolemy. The region is divided into Gallic
provinces, including Aquitania, Celtogalatiia Belgica,
CONDITION Lugdunensis, and Narbonensis, and bounded by the
Good river Rhine (“Renus lu.”), the Alps, and the Pyre-
nees. A number of islands appear in the Aquitan-
STOCK NO. icum (Biscay Bay) and Mare Britannicum (English
65594 Channel), along with the outline of southern
England (Albionis insule brittannice pars)
AUTHOR The most important site on the map appears as
Claudius Ptolemy/ Templum Veneris on the Mediterranean Coast. This
Lienhart Holle is Portus Veneris (Porte-Vendre) at the base of the
Pyrenees, where Ptolemy shows the boundary of
Narbonensis at the promontory on which stood the
Aphrodisium or Temple of Venus (Templum Vener-
is), according to the reports of Pliny and Strabo.
The 1482 Ulm edition of Ptolemy’s Geographia
was the irst edition printed north of the Alps map
and the irst to appear in color which was applied by
the publisher. The 1482 Ulm edition of the Geo-
graphia was one of the most important cartographic
texts of the early Renaissance and the irst edition
of the work to be printed outside Italy. The text for
this edition was based upon a manuscript translated
into Latin by Jacobus Angeli and edited by Nico-
laus Germanus that had been brought to Ulm from
Rome in 1468. The Ulm Ptolemy was irst published
in 1482 by Lienhart Holle, the same year as Berling-
heri’s Florence edition. This example includes the
fabulous Lapis Lazuli blue in the oceans, a pigment
so expensive that it eventually contributed to the
bankruptcy of the publisher.
CONDITION DESCRIPTION
Old color. Restored at left and right margins, with
some minor loss of text at the top right corner and
minor loss of the top 1 cm of the map, including
neatline and gradient numbers across the top.
10
CLAUDIUS PTOLEMY
Claudius Ptolemy (l. AD 127-145) was an ancient
geographer, astronomer, and mathematician. He is
known today through translations and transcriptions
of his work, but little is known about his life besides
his residence in Alexandria.
Several of his works are still known today, al-
though they have passed through several alterations
and languages over the centuries. The Almagest,
in thirteen books, discusses astronomy. It is in the
Almagest that Ptolemy postulates his geocentric
universe. His geometric ideas are contained in the
Analemma, and his optical ideas were presented in
ive books known as the Optica.
Perhaps his best-known work is his Geograph-
ia, in eight books. In 1295, a Greek monk found a
copy of Geographia in Constantinople; the emperor
ordered a copy made and the Greek text began to
circulate in eastern Europe. In 1393, a Byzantine
diplomat brought a copy of the Geographia to Italy,
where it was translated into Latin in 1406 and called
the Cosmographia. The manuscript maps were irst
recorded in 1415. These manuscripts, of which there
are over eighty extant today, are the descendants of
Ptolemy’s work and a now-lost atlas consisting of a
world map and 26 regional maps.
When Ptolemy’s work was re-introduced to
Western scholarship, it proved radically inluential
for the understanding and appearance of maps.
Ptolemy employs the concept of a graticule, uses
latitude and longitude, and orients his maps to the
north—concepts we take for granted today. The
Geographia’s text is concerned with three main is-
sues with regard to geography: the size and shape of
the earth; map projection, i.e. how to represent the
world’s curve proportionally on a plane surface; and
the corruption of spatial data as it transfers from
source to source. The text also contains instructions
as to how to map the world on a globe or a plane
surface, complete with the only set of geographic
coordinates (8000 toponyms, 6400 with coordinates)
to survive from the classical world.
11
12 13
 RA RE SWE E PING VIE W O F PA RIS
3 Lutetiae, vulgo, Paris, Urbis Galliarum Primariæ, Non Europæ Solius
Paris / 1669 DESCRIPTION
This rare sweeping view of Paris showing the city
DIMENSIONS under Louis XIV is the irst French-published view
94.5” x29.5” of the city to be produced at. This superbly rare
bird’s-eye view was designed by Noël Cochin and
printed by Hubert Jaillot in 1669. The expansive cen-
COLOR
tral view, nearly 7 feet wide and 2 feet tall, shows the
Uncolored
city in intricate detail as seen from the north. This
is one of the earliest obtainable views of Paris to
CONDITION be published on this scale, and one of the grandest
VG views of Paris published during the 17th century.
The view sweeps from the Faubourg and Abbaye
STOCK NO. de St. Antoine (near the more recent Place de la
77258 Nation) in the east to the hills of Montmartre in the
north. The exact location Cochin used to sketch the
AUTHOR view is not mentioned in the text, but the angle of
Nicolas Berey / the buildings suggests somewhere in northeast Paris,
Alexis-Hubert in the 20th Arrondissement. A Princeton cataloging
Jaillot / Noël suggests the Ménilmontant neighborhood as the
Cochin location Cochin used. While plausible, there is no
textual evidence to support this.
The central view, itself supplied on four sixteen-
by twenty-one-inch sheets of paper, is supplemented
by four additional wide-angled views of the city and
fourteen additional smaller views in the side and
bottom panels of the work. Below the engravings
are four sets of text, the irst explaining the purpose
of the view; the second detailing the history of Paris
in French; the third providing the same in Latin; and
the fourth acting as an additional index for the cen-
tral view. Please refer to the text below for speciics
regarding the text and additional views.
Boutier only lists two earlier views of Paris
produced at a comparable size (one plate created by
Van der Keere and one created by Willem Janszoon
Blaeu), although each is approximately a foot
smaller. These were both published in Amsterdam
and reproductions of an earlier and smaller Merian
view, which highlights the importance of this pres-
ent map.
The reign of Louis XIV saw the growing dom-
inance of France on the world stage, as well as
many reforms of French society. Louis XIV would
only truly come into power after the suppression
of the Fronde rebellion, but this would leave him
14
with a life-long distrust of the Parisian nobility and
denizens. Thus, he would change the royal residence
from the Palais-Royale irst to the more defensible
Louvre, and then to Versaille some twenty kilome-
ters from Paris.
Despite the king’s distaste for the city, it would
lourish due to the actions of Jean-Baptiste Colbert,
the Minister of Finances and a gifted student of
mercantilism. In a quest to remake Paris in the style
of Rome, he would undertake massive construction
projects, building Les Invalides just two years after
the printing of this work, demolishing the city walls
and replacing them with the Grands Boulevards (but
only after Louis XIV declared the city secure against
attack), and building many additional squares and
monuments. This view, and the associated view, were
no doubt inluenced by the grandiose redesigning of
the city.
Boutier lists the map as appearing in three states,
of which this is the third. Of the irst state, three
examples are known to exist. Of the second and
third states (in addition to the present example) only
one state is known to exist.
RARITY
- First state: three examples, in the Firestone Library
(Princeton University), the Getty Research Center
(California), and the Biblioteque National de France.
- Second state: we were only able to locate one
example, in the BNF.
- Third state: we were again able to locate only one
example, in the BNF.
One further mention of this work exists, in the
Catalogue de Livres et Estampes Relatifs à L’Histoire
de la Ville de Paris et de ses Environs, Provenant
de la Bibliothèque de Feu M. Hippolyte Destailleur,
which documents the extensive library the famous
architect and Roccocco revivalist upon his death.
This print was also mentioned in Sue Reed’s 1998
French Prints From the Age of the Musketeers,
stating that the print was on loan to an exhibition
held in Boston, Ottawa, and Paris from 1998 to 1999
(most likely the BNF irst state example).
We ind no record of any additional examples
having ever been on the market.
15
16 17
 LINSCHOTEN’S ITINERARIUM
4 Navigatio ac Itinerarium Iohannis Hugonis Linscotani in Orientalem Sive Lusitanorum Indiam
Amsterdam / 1614 DESCRIPTION
A handsome example of Linschoten’s Itinerario, one
DIMENSIONS of the most important travel books of the late 16th
8 ” x 12.5” and early 17th century, with the much sought-after
and very rare Willem Barentsz map of the arctic.
Jan Huyghen van Linschoten (1563-1611) was
COLOR
perhaps the greatest world traveler of his age. His
Uncolored
adventures from 1576 to 1592 in Iberia, Africa, and
India, became the stuff of legend, and more than
CONDITION any other igure he was responsible for opening the
VG young Dutch Republic to global trade and explora-
tion.
STOCK NO. The Itinerario was compiled in the context of
72051 the fervent Dutch desire to break the monopoly
that the Portuguese had held on East Indies trade
AUTHOR throughout the 16th century. The information
Jan Huygen van brought back and disseminated by Linschoten laid
Linschoten the groundwork for the Houtman voyage of 1595-
98 and the foundation of the Dutch East India
Company (VOC).
The Itinerario contained Linschoten’s own
account of his travels, along with information about
the natural history and ethnography of Asia. The
second part contained an overview of the income
of the Spanish crown. The third part, the Reys-
gheschrift, contained translations of Spanish and
Portuguese roteiros related to the East Indies and
the transit to them.
Linschoten became acquainted with the Am-
sterdam publisher Cornelis Claesz upon his return
from his earlier voyages. Claesz was avidly pursuing
and publishing maps and travel accounts that could
be of use to Dutch seafarers, and he and Linschoten
began a partnership surrounding the Itinerario. On
March 14, 1594, Linschoten signed an agreement
with Claesz “to print and sell to mutual beneit a
certain book on navigation to the East Indies with
images pertaining thereto, as described by Jan Huy-
gen, aforementioned.” A few months after signing
the contract with Claesz, Linschoten accompanied
Willem Barentsz on his irst voyage to the arctic in
search of the Northeast Passage.
18
RARITY
This edition was apparently unknown to Schilder
upon the publication of MCN VII, as he refers to
the 1614 Cloppenburg edition as the only from that
year, and did not know that the Barentsz appeared in
the 1614 edition as well as the 1599.
REFERENCE
Quarto. Contemporary vellum. 2 title vignettes
of a sailing ship, engraved coat-of-arms, full-page
portrait, 7 engraved folding maps, and 36 (13
double-page, 5 folding) engraved plates or maps.
[4] leaves, 124, 45, [3] pages. (Minor patched repair
to the verso of the title. Page 43/44 supplied from
another copy and expertly restored at the edges.
Front lyleaf with top outside corner restored.
Lacking back lyleaf. Scattered minor toning.
Minor repaired loss to the lower-right border of
the Arabian Sea map. In general a VG or better
example.)
LIST OF MAPS
- Willem Barentsz. Deliniatio Cartae Trium Navigationum
per Batavos, ad Septentrionalem Plagam, Norvegiae,
Moscoviae, et Novae Semblae.
- Petrus Plancius. Orbis Terrarum Typus De Integro Multis
In Locis Emendatus auctore Petro Plancio 1594
And the following maps by Linschoten among
others:
- Exacta & accurata delinatio cum orarum maritimarum
tum etjam locorum terrestrium que in regionibus China,
Cauchinchina, Camboja, sive Champa, Syao, Malacca,
Arracan & Pegu
- Deliniantur in hac tabula, Orae maritimae Abexiae, freti
Mecani: al. Maris Rubri: Arabiae Freti Mecani: al Maris
Rubri: Arabiae, Ormi, Persiae, Supra Sindam usque . . .
- Delineatio Orarum Maritimarum, Terrae vulgo Indigetatae
Terra do Natal, item Sofalae, Mozambicae, & Melindae . . .
- Typus orarum maritimarum Guineae, Manicongo &
Angolae ultra Promentorium Bonae spei susq. . .
- Delineatio Omnium Orarum Totius Australis Partis
Americae, Dictae Peruvianae, a R. de la Plata, Brasiliam,
Pariam, & Castellam . . .
19
20 21
 A STUNNING LITHOGRAPH OF A LUNAR ECLIPSE
5 Partial Eclipse of the Moon.
New York / 1882 DESCRIPTION
This is a beautiful color lithograph of a partial lunar
DIMENSIONS eclipse made by Etienne Trouvelot, relating his
28.4 ” x 38.2” observations made in the fall of 1874. The chro-
molithograph was published as part of Trouvelot’s
Astronomical Drawings set of 15 plates by Charles
COLOR
Scribner’s Sons in 1882.
Colored
Trouvelot’s drawings are known as some of
the best images of the sky ever made. Trouvelot’s
CONDITION work was very important at the time, as it provided
VG+ important images of the stars, planets, and phenom-
ena of the sky at a time when popular interest in
STOCK NO. astronomy was growing, but photography had not
68379 yet become advanced enough to capture such dark
images. Trouvelot’s images are recognized as the last
AUTHOR of the great images of the night sky that surpassed
Etienne Leopold the photography of their day.
Trouvelot Lunar eclipses are magniicent phenomena that
happen when the moon passes through the shadow
of the sun cast by the earth. The lack of direct sun-
light means that only refracted light, which under-
goes Rayleigh scattering, reaches the moon from the
sun. This results in a deep red color, leading to the
term blood moon, and they are also known as blue
moons or supermoons.
It is interesting that Trouvelot chooses to por-
tray a partial eclipse. On October 25th, a day after
this image was sketched, a full eclipse would occur.
Perhaps Trouvelot decided that the contrast between
the bright and dark parts of the moon would lead
to better understanding on the effects of the blood
moon, or perhaps his view was obscured on the
second night.
Trouvelot describes the work and phenome-
non as follows in his Trouvelot Astronomical Drawings
Manual:
A view of the Moon partially obscured by the Earth’s
shadow, whose outline gives ocular proof of the earth’s
rotundity of form. The shadowed part of the Moon’s surface
is rendered visible by the diffused sun-light refracted upon it
from the earth’s atmosphere. Its reddish brown color is due to
the absorption, by vapors present near the earth’s surface, of a
considerable part of this dim light. On both the obscured and
illuminated tracts the conigurations of the Moon’s surface
22
are seen as with the naked eye. The craters appear as distinct
patches of lighter color, and the noticeably darker areas are
the depressed plains or Maria. The large crater Tycho, at the
lower part of the disk, is the most prominent of these objects,
with its extensive system of radiating streaks. The largest
crater above is Copernicus, at the left of which is Kepler
and still above are Aristarchus and Herodotus appearing as
if blended in one. Above and at the left of the great crater
Tycho, the irst dark tract is the Mare Humorum of Plate
VI seen in its natural position, with the crater Gassendi at
its northern (upper) extremity and Vitello on its southern
(lower) border. The advancing border of the shadow appears,
as always, noticeably darker than the remainder, an effect
probably of contrast. The illuminated segment of the Moon’s
disk has its usual appearance, the lighter portions being the
more elevated mountainous surfaces, and the dark spaces the
loors of extensive plains.
ETIENNE LEOPOLD TROUVELOT
Trouvelot (1827-1895) was born in Guyencourt,
Aisne, France. During his early years he was
apparently involved in politics and had Republican
leanings. Following a coup d’état by Louis Napoleon
in 1852, he led or was exiled with his family to the
United States, arriving in 1855. They settled in the
town of Medford, Massachusetts, where he worked
as an artist and nature illustrator. In both 1860 and
‘70 census, his occupation is listed as lithographer.
His interest in astronomy was apparently
aroused in 1870 when he witnessed several auroras.
When Joseph Winlock, the director of Harvard
College Observatory, saw the quality of his
illustrations, he invited Trouvelot onto their staff
in 1872. In 1875, he was invited to the U.S. Naval
Observatory to use the 26-inch refractor for a year.
During the course of his life he produced about
7,000 quality astronomical illustrations. 15 of his
most superb pastel illustrations were published by
Charles Scribner’s Sons in 1881. He was particularly
interested in the Sun, and discovered “veiled spots”
in 1875. Besides his illustrations, he published about
50 scientiic papers.
23
 PARIS VIEW BY THE FATHER OF MODERN POSTER ART
6 V u e g e n e r a l e d e s P a l a i s D e L’ E x p o s i t i o n U n i v e r s e l l e D e 1 8 7 8 . . .
Paris / 1878 DESCRIPTION
Rare, separately published xylographed and col-
DIMENSIONS or-lithographed view of the Grand Palais, as it
27.3 ” x 20.3” appeared at the time of the third Paris World’s Fair,
called an Exposition Universelle in 1878.
In this strikingly detailed image, a bird’s-eye
COLOR
view allows us to take in the scene: the main palais,
Colored
center, sits upon the Champ du Mars; at right, across
the Seine, is the Trocadero, newly built for this 1878
CONDITION event. The lithograph was published by and featured
VG in Le Figaro, France’s oldest national daily newspa-
per. This was one of the irst works of Chéret’s new
STOCK NO. printing plant. Chéret received a silver medal for
74482 work at this fair. He would go on to become regard-
ed as the father of modern poster art.
AUTHOR The buildings and the fairgrounds were some-
Fortune Louis what uninished on opening day, as political compli-
Meaulle / Jules cations had prevented the French government from
Chéret paying much attention to the exhibition until six
months before it was due to open. However, efforts
made in April were prodigious, and by June 1, a
month after the formal opening, the exhibition was
inally completed.
This exposition was on a far larger scale than
any previously held anywhere in the world. It cov-
ered over 66 acres, the main building in the Champ
de Mars and the hill of Chaillot, occupying 54 acres.
The Gare du Champ de Mars was rebuilt with four
tracks to receive rail trafic occasioned by the exposi-
tion. The Pont d’Iéna linked the two exhibition sites
along the central allée. The French exhibits illed
one-half of the entire space, with the remaining
exhibition space divided among the other nations of
the world.
Over 13 million people paid to attend the
exposition, making it a inancial success. The total
number of persons who visited Paris during the time
the exhibition was open was 571,792.
24
JULES CHERÉT
Jules Chéret was a French painter and lithographer
who became a master of Belle Époque poster art.
He has been called the father of the modern
poster. Cheret was a key igure in the history of
poster art, producing more than 1,000 posters.
Born in Paris to a poor but creative family of
artisans, at age thirteen, he began a three-year ap-
prenticeship with a lithographer and then his interest
in painting led him to take an art course at the École
Nationale de Dessin.
From 1859 to 1866, he was trained in lithog-
raphy in London, England, where he was strongly
inluenced by the British approach to poster design
and printing. He got his break when perfume man-
ufacturer Eugène Rimmel hired him as a designer.
Soon after he started his own lithographic printing
irm in Paris, irmly believing that lithography would
soon replace his father’s letterpress industry as the
premier printing technique.
On returning to France, Chéret created vivid
poster ads for the cabarets, music halls, and the-
aters such as the Eldorado, the Olympia, the Folies
Bergère, Théâtre de l’Opéra, the Alcazar d’Été and
the Moulin Rouge. He created posters and illustra-
tions for the satirical weekly Le Courrier français.
As his work became more popular and his large
posters displaying modestly free-spirited females
found a larger audience, pundits began calling him
the “father of the women’s liberation.” Females
had previously been depicted in art as prostitutes or
puritans. The women of Chéret’s posters, joyous, el-
egant and lively—’Cherettes’, as they were popularly
called—were neither. It was freeing for the women
of Paris, and heralded a noticeably more open atmo-
sphere in Paris where women were able to engage
in formerly taboo activities, such as wearing low-cut
bodices and smoking in public. These ‘Cherettes’
were widely seen and recognised, and a writer of the
time said “It is dificult to conceive of Paris without
its ‘Cheréts’ (sic).”
He was awarded the Légion d’honneur by the
French Government in 1890 for his outstanding
contributions to the graphic arts.
25
 CO L O RFU L M E X ICA N CH RO M O L IT HO G RA PH PL AT E BO O KS
7 Atlas Pintoresco e Historico de los Estados Unidos Mexicanos por Antonio Garcia Cubas
Mexico City / 1897 DESCRIPTION
Nice example of Antonio Garcia Cubas’s Atlas
DIMENSIONS Pinturesco e Historico, one of the inest works of
16” x 25” Mexican Chromolithography published in the 19th
Century.
COLOR
[The] Atlas pintoresco e historico was a highly polished
Colored
presentation of the character of the state deined through a
variety of statistics graphically presented in beautiful thematic
CONDITION maps.... The imagery on the ethnographic map treated the
VG ‘white race’ respectfully by contrast to the more intrusive
images of indigenous peoples. Again, on the map dedicated to
STOCK NO. education...a host of portraits-almost entirely of white men-
72783 pay homage to Mexico’s literate society, while the color scheme
of the map itself parallels the color hierarchy of Mexican
AUTHOR society by displaying literacy rates from high (in white) to low
Antonio Garcia y (in brown).” (Osher Library, Mapping Latin America...).
Cubas / Debray
Sucessores First published by Debray Sucesores in 1885, the
work consists of a series of ethnographical, botani-
cal, natural architectural, political, religious imagery
of Mexico, with images of transportation, public
institutions, agriculture and geological features. The
inal four maps show the history of Mexico, the
Valley of Mexico and Two additional maps show the
Valley of Mexico and Mexico City and its environs.
Each map is bordered by exquisitely rendered
vignettes, pertaining to the map’s theme.
Rumsey notes: “The maps and illustrations
bordering them are superb. Garcia Cubas was the
preeminent Mexican cartographer of the 19th
century. “
There are two editions, 1885 and 1897. The edi-
tions are identical, other than the title pages.
26
RARITY
The 1897 re-issue is scarce on the market, with only
4 examples at auction reported in RBH in the past
40 years.
CONDITION DESCRIPTION
Title page and 13 maps.
REFERENCE
Palau 98736. Phillips, Atlases 2686.
ANTONIO GARCÍA Y CUBAS
Antonio García y Cubas (1832-1912) was a Mexican
geographer, historian, writer, and cartographer. An
orphan from a young age, Cubas attended the Colegio
de San Gregorio and the Colegio de Ingenieros, where
he earned a geography degree. In 1856, he became
a member of the Sociedad Mexicana de Geografía y
Estadística.
Cubas wrote several geographic works, including
introductory courses to geography, historical atlases,
and maps. He is best known for his Atlas Geográico,
Estadístico e Histórico de la República Mexicana (1857),
Carta General de México (1863), and Diccionario Geográico,
Histórico y Biográico de los Estados Unidos Mexicanos en cinco
volúmenes, editados entre 1888 y 1891. He is also praised for
his memoir, El Libro de mis Recuerdos (1905). Today, the
best books published in anthropology and history in
Mexico are given the Antonio García Cubas prize.
27
 FIRST MODERN MAP OF FRANCE
8 Ta b u l a M o d e r n a F r a n c i e

Rome / 1507 DESCRIPTION RARITY

Very scarce etched and engraved map of France,
DIMENSIONS published in the 1507 edition of the Rome Ptolemy
21” x 15.5” Atlas.
The map is a marked improvement from the
Ptolemy-based map of the earlier editions, adding is-
COLOR
lands, topography, many more towns, and in general
Uncolored
much more accuracy and detail.
Before the publication of this map, the only
CONDITION printed maps of France in circulation were those
Fair derived from Ptolemy, whose cartography was by
this point, over 1300 years old.
STOCK NO. The group of modern maps to which this
64753 map belongs represented the irst wave of modern
cartography overtaking the Ptolemaic tradition that
AUTHOR dominated the birth of printed maps.
Claudius Ptolemy The new edition of the 1507 Rome Ptolemy
adds the following maps to the previous compli-
ment:
The new maps that were included in the 1507
Ptolemy are necessarily rarer than those that were
included in the earlier editions. While we have had
the 1478/1490 map of France several times, this is
the irst time we have had the modern map. Further-
more, this is the irst time we have seen any example
of the map on the market.
CONDITION DESCRIPTION
Two sheets joined, as issued. Tau cross watermark
on each sheet. Shaved at the top with loss of title
and some of the printed border. Some profession-
aly-repaired damage at the bottom edge, particularly
at the outside corners, as illustrated.

1. Universalior Cogniti Orbis Tabula. Ex Recentibus

Confecta Observationibus
4. Tabula Moderna Prussi Livoni Norvegi Et Gotti
Datia
6. Tabula Moderna Hispanie - Hispania
8. Tabula Moderna Francie - Francia
10. Tabula Moderna Polonie Ungarie Boemie Ger-
manie Russie Lithuanie - Germania.
13. Tabula Nova Italia - Ita[l]ia Corsica Insula Sar-
dinia Insula.
26. Tabula Moderna Terrae Sanctae

28 29
 EXCEPTIONAL ORTELIUS RARITY
9 (Separately Published Ortelius Map) Gallia
Antwerp / ca. 1585 DESCRIPTION
Proof state of this separately-issued map of France,
DIMENSIONS published by Abraham Ortelius and drawn by
20 ” x 14” Guillaume Postel. Van Den Broecke notes that this
map was “never regularly included” in any edition
of the Theatrum and that fewer than only ive or six
COLOR
examples are likely to have survived.
Hand colored
The map derives its cartography from Postel’s
two-woodblock map of France, which was pub-
CONDITION lished in Paris in 1570. It uses the same strapwork
VG+ cartouche as Mercator’s Zelandia, which was irst
published in 1585. Although it has been said that
STOCK NO. the cartouche here is a copy of that in the Mercator
64335 map, the opposite seems just as likely. The earliest
appearance of the map in any Ortelius atlas was in a
AUTHOR 1588 S, as noted below.
Abraham Ortelius/
Guillaume Postel Van Den Broecke (35) remarks:
“Denucé mentions a 1598D edition (Plantin Muse-
um, sign. A760) which contains this map. The copy
described and shown by Meurer (p. 219, Figure 55)
has no text on verso, and the same applies to my
copies and to Stopp’s copy of this map. I noticed a
1588S edition at Reiss Auctions spring 2005 which
contained a copy of this map, but with the Spanish
text normally given to Ort34. Apparently, it was sold
for a limited time as a separate single sheet map.
Also, a copy of the 1613 Dutch edition in the Uni-
versity Library of Amsterdam has the standard text
usually found on Ort34.”
As pointed out by Gittenberger (personal commu-
nication), the cartouche of this map is a close copy
of Mercator’s Zelandia map. A fairly close copy of
this map, but without hatching of the coat of arms,
was included in Bouguereau 1594.
RARITY
According to Van Den Broecke, a single copy of the
map exists “without the dotted lines indicating prov-
ince and country borders, most probably a proof
state”. The present example of the map also lacks
these dotted borders, and so can be considered the
second known example of this proof state.
CONDITION DESCRIPTION
30
Quarto. 16th-century ¼ blind-tooled pigskin over
oak boards (expert remboitage; all leaves re-tabbed,
clasps lacking). 48 double-page woodcut maps
(including 27 ancient maps and 21 modern). aa4, *6,
a6, b6, c5, [blank], A-N6, 48 double-page woodcut
maps, Aa6, Bb6, Cc8 (i.e., complete). (Few small
wormholes especially at the beginning of the book.
Small ink stain to the centerfold of the Americas
map, otherwise VG+ throughout.) Early ink manu-
script on the front and back pastedowns. Ink “A.S.”
on the title.
ABRAHAM ORTELIUS
Abraham Ortelius is perhaps the best known and
most frequently collected of all sixteenth-century
mapmakers. Ortelius started his career as a map
colorist. In 1547 he entered the Antwerp guild of St
Luke as afsetter van Karten. In 1560, while travel-
ing with Gerard Mercator to Trier, Lorraine, and
Poitiers, he seems to have been attracted, largely by
Mercator’s inluence, towards a career as a scientiic
geographer. From that point forward, he devoted
himself to the compilation of his Theatrum Orbis
Terrarum (Theatre of the World), which would
become the irst modern atlas.
In 1564 he completed his “mappemonde”, an
eight-sheet map of the world. Ortelius also pub-
lished a map of Egypt in 1565, a plan of Brittenburg
Castle on the coast of the Netherlands, and a map
of Asia, prior to 1570.
On May 20, 1570, Ortelius’ Theatrum Orbis
Terrarum irst appeared in an edition of 70 maps.
Most of the maps in Ortelius’ Theatrum were drawn
from the works of a number of other mapmakers
from around the world; a list of 87 authors is given
by Ortelius himself
In 1578 he laid the basis of a critical treatment
of ancient geography with his Synonymia geograph-
ica (issued by the Plantin press at Antwerp and
republished as Thesaurus geographicus in 1596). In
1584 he issued his Nomenclator Ptolemaicus, a Par-
ergon (a series of maps illustrating ancient history,
sacred and secular). Late in life, he also aided Welser
in his edition of the Peutinger Table (1598).
31
 EARLY EDITION OF THE ORONCE FINE MAP OF 1525
10 To t i u s G a l l i a e E x a c t i s s i m a D e s c r i p t i o . . . M . D . L X V I .
Venice / 1566 DESCRIPTION
This is a rare 2 sheet map of France, irst published
DIMENSIONS by Paolo Forlani in Venice in 1566.
25.3 ” x 18.3” Dedicated to Marcus Antonius Radici, Forlani’s
map is based upon Oronce Fine’s monumental
4 sheet map of France, the original of which no
COLOR
longer survives.
Uncolored
First published in 1525, Fine’s map is the irst
attempt to create a modern map of France utiliz-
CONDITION ing a systematic series of observations. Fine’s map
VG marked an important departure from earlier maps of
France, extending its dominion far beyond the limits
STOCK NO. of Renaissance France. Based on a Gallia bounded
74213 by the Rhine, Alps, and Pyrenees, which greatly ex-
ceeded the boundaries of Renaissance France, Fine’s
AUTHOR map pushes even further, extending northern Italy,
including Venice and the Adriatic. The coverage in
Paolo Forlani/
Bolognini Zaltieri part relects the ambitions of the kings of France
to claim territory in the Alps and Italy, which were
dampened by the 1559 treaty of Cateau-Cambrésis,
but not entirely defeated.
As noted in the History of Cartography chapter on
early mapping in France:
Historical records indicate that Fine’s Nova totivs Galliae
descriptio was irst published in Paris in 1525 by Simon
de Colines . . . and that its inal edition was published in
1557. . . However, neither of these editions was preserved.
The surviving examples . . . are intermediate printings likely
issued from the four woodblocks cut for the original edition.
Dated 1538, 1546, and 1554, they were published by
Jérôme de Gourmont, a member of the famous family of
Parisian booksellers and printers that seemed to specialize in
map publishing.
The map was presented by its author as a basic mapping
of the country; the cartouche, in part, reads: “our chief inten-
tion was to reduce all of Gaul in order to meet the demands
of several good men, and to establish and revise the latitudes,
longitudes, and situation of main places, coasts, rivers, and
the most notable mountains, so that this map can be ampliied
and corrected at pleasure in the future” . . .
RARITY
The map is scarce on the market. We note only a
single example at auctions and in dealer catalogs in
the past 15 years.
32
CONDITION DESCRIPTION
Two sheets joined. Minor discoloration along old
folds / joins, and one larger spot at the top.
PAOLO FORLANI
Paolo Forlani (l. ca. 1560-1571) was a proliic map
engraver based in Venice. All that is known of his
life are his surviving maps and prints, of which there
are almost 100 (185 with later states included in
the total). He also produced a globe and two town
books. It is likely he came from Verona and that
he died in Venice in the mid-1570s, possibly of the
plague.
THE LAFRERI SCHOOL
The Lafreri School is a commonly used name for
a group of mapmakers, engravers, and publishers
who worked in Rome and Venice from ca. 1544 to
1585. The makers, who were loosely connected via
business partnerships and collaborations, created
maps that were then bound into composite atlas-
es; the maps would be chosen based on the buyer
or compiler’s interests. As the maps were initially
published as separate-sheets, the style and size of
maps included under the umbrella of the “School”
differed widely. These differences can also be seen in
the surviving Lafreri atlases, which have maps bound
in with varying formats including as folded maps,
maps with wide, trimmed, or added margins, smaller
maps, etc.
The most famous mapmakers of the School in-
cluded Giacomo Gastaldi and Paolo Forlani, among
others. The School’s namesake, Antonio Lafreri, was
a map and printseller. His 1572 catalog of his stock,
entitled Indice Delle Tavole Moderne Di Geograia
Della Maggior Parte Del Mondo, has a similar title
to many of the composite atlases and thus his name
became associated with the entire output of the
larger group.
33
 SEPARATELY-PUBLISHED MAP OF FRANCE BY HOGENBERG
11 Galliae Regni Potentis, Nova Descriptio, Auctore Francisco Hogenbergio
n.p. Cologne / 1583 DESCRIPTION
Very rare antique engraved map of France by Frans
DIMENSIONS Hogenberg, prepared for separate publication in
20” x 14” Cologne in 1583.
The map is an engraved reduction of the four-sheet
COLOR
woodblock map of France (1570) by Guillaume Pos-
Uncolored
tel that was itself an improvement on the one (1560)
by Jean Jolivet. The latter’s wall map of France was
CONDITION issued in several editions from 1560 onwards and
VG+ was often copied (cf. Van Den Broecke Ort 34).
Much work on French cartography had been done
STOCK NO. between 1560 and 1583, when the present map was
75188 made, and there is a substantial improvement here
from say, the Ortelius map of France from 1570.
AUTHOR Hogenberg probably compiled information from
Frans Hogenberg more sources than just Postel, such as Finaeus, de
Jode (1578), etc.
This, like much of Hogneberg’s work, was either
initially conceived as a map for Abraham Ortelius,
or as a separate publication to be issued outside of
Antwerp. Ortelius evidently had an issue supplanting
his irst map of France (irst issued in 1570), as a
possible successor map (Van Den Broecke 35) was
not formally included in any atlas, and appears only
very rarely. If the same is true of the present map, it
may be the case that Ortelius had dificulty obtaining
permission to print Postel’s map. It was not until
1606, after Ortelius’s death, that Vrients would ind a
map of France to replace the irst plate.
REFERENCE
Not in Karrow.
34
FRANS HOGENBERG
Frans Hogenberg (ca. 1540-ca. 1590) was a Flemish
and German engraver and mapmaker who also
painted. He was born in Mechelen, south of
Antwerp, the son of wood engraver and etcher
Nicolas Hogenberg. Together with his father,
brother (Remigius), uncle, and cousins, Frans was
one member of a prominent artistic family in the
Netherlands.
During the 1550s, Frans worked in Antwerp with
the famous mapmaker Abraham Ortelius. There,
he engraved the maps for Ortelius’ groundbreaking
irst atlas, published in Antwerp in 1570, along
with Johannes van Deotecum and Ambrosius and
Ferdinand Arsenius. It is suspected he engraved
the title page as well. Later, Ortelius supported
Hogenberg with information for a different project,
the Civitates orbis terrarium (edited by Georg Braun,
engraved by Hogenberg, published in six volumes,
Cologne, 1572-1617). Hogenberg engraved the
majority of the work’s 546 prospects and views.
It is possible that Frans spent some time in England
while leeing from religious persecution, but he was
living and working in Cologne by 1580. That is the
city where he died around 1590. In addition to his
maps, he is known for his historical allegories and
portraits. His brother, Remigius, also went on to
some fame as an engraver, and he died around the
same time as his brother.
35
 FIRST E DIT IO N O F E A RL IE ST DE T A IL E D FRE NCH PO CKE T AT L AS
12 Les plans et profils de toutes les principales villes et lieux considerables de France
Paris / 1634 DESCRIPTION
A wonderful collection of 171 maps, plans, and
DIMENSIONS views of France, published by Nicolas Tassin under
9” x 6” the auspices of Melchior Tavernier. The atlas is the
irst of its type to focus on France and includes
vast amounts of information detailing the country’s
COLOR
geography in the 17th century.
Uncolored
The atlas opens with a dedication to King Louis
XIII, before providing a detailed description of the
CONDITION cities and regions shown in the atlas. These are fasci-
VG+ nating, enumerating not only geographical infor-
mation but also discussing history and culture. This
STOCK NO. section provides many insights into how the various
75195 regions were viewed in a geopolitical and historical
context at the time of publication.
AUTHOR The maps included are well executed and in
the Tassin’s distinctive style, which can be easily
Christopher
Tassin discerned in the unique way trees, mountains, and
other natural features are depicted. The views are
equally notable, with immense detail portrayed in
some examples. Particularly notable is Tassin’s view
of Paris, taken from the west.
The work is divided according to region.
It includes 43 maps of Picardie, 48 maps of
Champagne, 23 maps of Lorraine, 26 maps of
Bretagne, 25 maps of Normandie, 16 maps of the
Ile-de-France, and 15 maps of Brie. Curiously, the
work opens with the maps of Brie, but only displays
two before returning to the rest at the end. Each sec-
tion is heralded by one or more decorative cartouche
plates.
A companion volume (not present here, nor called
for) was published in 1636, focusing on the regions
in the south and west of France, which are neglected
in the present volume.
36
CONDITION DESCRIPTION
Oblong octavo. Later (19th-century?) full brown
morocco, covers with elaborate gilt-tooled frames
and borders, (rebacked, utilizing original leather
backstrap, and covers repaired near spine). Complete
with 171 maps, plans, and views, including 2
folding maps. [2], 1-39, [432] (Brie, 4 plates on 8
sheets; Cartouche; Picardie, 45 plates on 90 sheets;
Champagne, 50 Plates on 100 sheets; Lorraine, 25
plates on 50 sheets; Bretagne, 28 plates on 56 sheets;
Normandie, 27 plates on 54 sheets; Isle de France,
18 plates on 36 sheets; Brie, 14 plates on 28 sheets)
[2]. Title and verso of the last map with ink stamp
of “Biblioteca Giovannini”.
REFERENCE
Pastoureau, Tassin 7.
NICOLAS TASSIN
Nicolas Tassin’s early career was in service to the
King of France as an engineer. He was subsequently
appointed ‘royal cartographer’ and given the right
to publish his discoveries for ten years. Tassin irst
worked in Dijon before setting up as an engraver in
Paris where he issued various collections of small
maps and plans of France, Switzerland, Germany
and Spain. His irst publications date to 1633, while
his noted Les plans et proils de toutes les principales
villes et lieux considérables de France was published a
year later. He subsequently updated his early works
through the rest of his career, before retiring in 1644
and selling his copperplates to Antoine de Fer.
37
 T A SSIN’S A T L A S O F FRA NCE A ND SPA IN
13 Cartes generales des provinces de France et Espagne . . .

Paris / 1633 DESCRIPTION CONDITION DESCRIPTION

Presented is Tassin’s scarce atlas of France and Oblong octavo. Contemporary or possibly some-
DIMENSIONS Spain, completed in the year 1633, bound together what later full vellum (somewhat worn and stained,
8” x 6” with his atlas of the French region of Lorraine, the lacking ties). [8] A-C D² D blank (1-25). 25. Maps
latter of which would appear in his 1634 Les plans of France and Spain: 67 numbered plates, lacking
et proils de toutes les principales villes et lieux con- the described “Carte Generale de France” (Plate 1),
COLOR
siderable de France. This work was published in the with an additional 2 cartouche plates. Lorraine: [8],
Uncolored
year which Tassin started producing his atlases. 23 numbered plates, with an additional 2 cartouche
Tassin is well regarded as an early French engraver plates. [6]. (Dampstain in upper left and right cor-
CONDITION with a distinct style, which can be recognized on ners of irst half of book. Some manuscript on the
VG his maps by his portrayal of trees, hydrography, irst several pages in a17th-century French hand and
and topographic features. Pastoureau says of the 20th-century American hand.) But for the damp-
STOCK NO. engraver that “Tassin is most renown for his small staining VG or VG+. As-is, Good to VG.
75441 oblong atlases,” and that while most of his works
cover his native France, his works covering other REFERENCE
AUTHOR parts of Europe are uncommon. Pastoureau, Tassin 3.
Christopher The irst volume of this atlas appears without
Tassin the described irst map, a Carte Generale de France.
However, the only other described copy of this vol-
ume we were able to locate also lists this plate as not
included, thus it is unclear if it was ever bound into
the Cartes Generales des provinces de France et Espagne.
Both volumes open with copious descriptions
of the regions subsequently described. The maps
themselves vary widely in scope, with some focusing
on entire regions of France and Spain, and others on
single, small areas, such as map 29, a full-page map
of the Isle de Ré.
In all, this is a well-presented example of this
scarce work by Tassin.

38 39
 VIEW OF THE UNVEILING OF THE EIFFEL TOWER
14 S o u v e n i r d e L’ E x p o s i t i o n U n i v e r s e l l e P a r i s 1 8 8 9 | E s p l a n a d e d e s I n v a l i d e s | G r a n d - H o t e l

DESCRIPTION CONDITION DESCRIPTION

Paris / 1889 Wonderful color bird’s-eye view of the 1889 Exposi- Folding map, with original red cloth covers. Minor
tion Universelle, the great outpouring of Beaux-Arts stains.
DIMENSIONS architecture that also gave birth to the Eiffel Tower.
25.5” x 20” The view was published by Noailles in Paris, as
a promotional for the Grand Hotel on the Boulevard
COLOR des Capucines.
Colored

CONDITION
VG+

STOCK NO.

74829

AUTHOR
A. Karl / Gillot

40 41
 THE 1900 EXPOSITION UNIVERSELLE
15 Exposition Universelle Paris 1900

Paris / 1900 DESCRIPTION CONDITION DESCRIPTION

Impressive color-lithographed poster of the grounds Abrasions and minor dampstaining. Printed on “clay
DIMENSIONS of the 1900 Exposition Universelle in Paris, by the stock” paper with some cracking and loss in the
33.75” x 22.5” poster artist “GTC”. blank margins.
The view overlooks the Seine, the Grand Palais,
the exhibition buildings leading to Les Invalides, the RARITY
COLOR
Eiffel Tower, and the exhibition buildings con- The poster is evidently extremely rare, this being one
Colored of only two we could locate.
structed around it. Some of the more fantastical
buildings constructed for the Exposition are shown,
CONDITION such as the Globe Céleste. At the top are vignettes
VG of the pavilions of foreign countries, the palace of
electricity and castle of water, the Grand Palais, and
STOCK NO. the Porte Monumentale.
76548 In the foreground are world leaders, including
William McKinley and monarchs, such as Queen
AUTHOR Victoria, and her son (Edward VII, upon her death),
GTC Emperor Franz Joseph I of Austria-Hungary,
Emperor Nicholas II and Empress Alexandra of
Russia, and Menelik II, Emperor of Ethiopia. The
titles of the igures are given in the border below
them.
The combination of the extravagant Beaux-Arts
architecture, rich color printing, and portraits of
world leaders mingling happily together gives a sense
of Europe before the fall - standing as a stark con-
trast to the animosity and destruction of World War
I that followed a little over a decade later.
The monogram of the poster’s artist “GTC” is in
the lower-left corner. We have been unable to trace
the artist’s full name.

42 43
 E A RL Y DE PICT IO N O F M O NT G O L FIE R’ S CRE A T IO N
16 Paris (with Montgolfier ’s Hot Air Balloon)

Paris / ca. 1783 DESCRIPTION RARITY

Rare view of Paris, illustrating 4 different types of The view is apparently unrecorded.
DIMENSIONS early hot air balloons.
13.25” x 7.25” The balloon to the right of the title is an early CONDITION DESCRIPTION
image of the hot air balloon lown by Joseph and Minor foxing.
Étienne Montgolier of Ardèche in France, in
COLOR
Versailles in September 1783, the earliest recorded
Uncolored
example of manned light.
The other images of hot air balloons are likely
CONDITION examples of early attempts at manned light and
VG may be an early Montgolier prototype (left of the
title) and examples of early models by other hot air
STOCK NO. balloon pioneers.
76574

AUTHOR
Anonymous

44 45
46 47
 LE MINISTRE DE LA MARINE’S COPY OF BELLIN’S ATLAS
17 (Atlas) Cartes marines dressées au depost des cartes et plans de la marine.
Paris / ca. 1754 DESCRIPTION
In folio (637mm x 480 mm). Engraved title + inset
DIMENSIONS manuscript table of contents within engraved border
19” x 26” + 22 double-page engraved maps. Contemporary red
morocco gilt, double-illet, and roll-tooled borders,
central coat-of-arms of Jean-Baptiste de Machault
COLOR
d’Arnouville on both sides (coat-of-arms on upper
Hand Colored
cover overlaid with red glazed paper, the other
uncovered with some minor darkening along edges,
CONDITION some light rubbing and minor staining).
VG+ First edition. Fine collection of charts by Bellin
bound in full red morocco for the French Minister
STOCK NO. of Marine, with his arms on boards. Jacques
56608 Nicolas Bellin was royal hydrographer and ingénieur
géographe de la marine et du Dépot des Cartes et
AUTHOR Plans, beginning in 1741. The maps are varied in
Jacques Nicolas the regions portrayed, including the World, two ine
Bellin Ocean charts, the Paciic, a remarkable chart of
the Philippines, Mexico, Africa, three charts of the
Mediterranean, and others.
This copy is bound for Machault d’Arnouville
who became Minister of Marine in 1754, after he
had lost the support Louis XV and Madame de
Pompadour as Controller of Finances. In 1757 he
was disgraced and retired, possibly the reason for the
overlay of the arms on the binding.
The maps with rhumb lines in black and 8 in
bistre, with the coastlines colored by a contemporary
hand.
RARITY
Another volume with Bellin maps bound for
Machault d’Arnouville sold in the Wardington
sale (Sotheby’s London, 18 October, 2006, lot 38),
with a note “This is probably one of the earliest
collections of charts formed by Bellin after he had
taken over the Marine Ofice and reprinted the
Neptune François in 1753. The plates are by order
of Monseigneur Le Comte de Maurepas, and his
successor M. Rouillé, Chevalier Comte de Jouy, who
in turn was succeeded by M. de Machault, around
1754, for whom this copy was bound” (Wardington
Catalogue).”
48
PROVENANCE
Jean-Baptiste de Machault d’Arnouville (1701-1794),
French statesman, Controller of Finances, Minister
of Marine (arms on binding).
CONDITION DESCRIPTION
In folio (637 mm x 480 mm). Engraved title + inset
manuscript table of contents within engraved border
+ 22 double page engraved maps. Contemporary red
morocco gilt, double-illet and roll-tooled borders,
central coat-of-arms of Jean-Baptiste de Machault
d’Arnouville on both sides (coat-of-arms on upper
cover overlaid with red glazed paper, the other uncov-
ered with some minor darkening along edges, some
light rubbing and minor staining).
REFERENCE
Jacques-Nicolas Bellin (1703-1772) was among the
most important mapmakers of the eighteenth century.
In 1721, at age 18, he was appointed hydrographer
(chief cartographer) to the French Navy. In August
1741, he became the irst Ingénieur de la Marine
of the Depot des cartes et plans de la Marine (the
French Hydrographic Ofice) and was named Oficial
Hydrographer of the French King.
During his term as Oficial Hydrographer, the Depot
was the single most active center for the production of
sea charts and maps, including a large folio format sea-
chart of France, the Neptune Francois. He also produced
a number of sea-atlases of the world, e.g., the Atlas
Maritime and the Hydrographie Francaise. These gained
fame, distinction, and respect all over Europe and
were republished throughout the 18th and even in the
succeeding century.
Bellin also came out with smaller format maps such
as the 1764 Petit Atlas Maritime, containing 580 inely
detailed charts. He also contributed many of the maps
for Bellin and contributed a number of maps to the
15-volume Histoire Generale des Voyages of Antoine
François Prévost or simply known l’Abbe Prevost.
Bellin set a very high standard of workmanship
and accuracy, thus gaining for France a leading role in
European cartography and geography. Many of his
maps were copied by other mapmakers of Europe.
49
50 51
 FIRST EDITION OF MÜNSTER’S GEOGRAPHIA
18 Geographia Universalis, Complectens Claudii Ptolemaei Alexandrini Enarrationis Libros VIII.
DESCRIPTION
Basel / 1540 A handsome example of one of the most important
and rarest atlases of the 16th century, a true irst
DIMENSIONS edition of Sebastian Münster’s Geographia printed in
8 ” x 12.25” Basel in 1540.
Münster’s 1540 Geographia deserves a number of
COLOR superlatives. First, it established the convention that
Uncolored a world atlas should include world and continental
maps. To that end, it was the irst atlas to include
CONDITION
speciic maps of the Americas, Europe, Africa, and
Asia. This change was in no small part inluenced by
VG+
the irst circumnavigation of the globe by Ferdi-
nand Magellan in 1522. The Geographia was the irst
STOCK NO.
printed work to render latitude and longitude in their
72495
now-standard degree-minute-second form. And
it was the book that ushered in a series of “mod-
AUTHOR ern”-style world atlases culminating in the 1570
Sebastian Theatrum Orbis Terrarum of Abraham Ortelius.
Münster
RARITY
While later editions of the Geographia and Cosmo-
graphia appear on the market with some regularity,
the 1540 is a storied rarity. In 2014, an example sold
at Sotheby’s for the GBP-equivalent of $78,375.
CONDITION DESCRIPTION
Quarto. 16th-century ¼ blind-tooled pigskin over
oak boards (expert remboitage; all leaves re-tabbed,
clasps lacking). 48 double-page woodcut maps
(including 27 ancient maps and 21 modern). aa4, *6,
a6, b6, c5, [blank], A-N6, 48 double-page woodcut
maps, Aa6, Bb6, Cc8 (i.e., complete). (Few small
wormholes especially at the beginning of the book.
Small ink stain to the centerfold of the Americas
map, otherwise VG+ throughout.) Early ink manu-
script on the front and back pastedowns. Ink “A.S.”
on the title.
52
REFERENCE
Adams P-2224; Alden & Landis 540/22; Burden
12 (irst state); Burmeister 155; JCB (3) I:127;
Nordenskiold 2:210; Phillips Atlases 365; Sabin
66484; Shirley, British Library T.PTOL-8a; Shirley
77; Ruland, Harold “A Survey of the Double-page
Maps in Thirty-Five Editions of the Comographia
Universalis 1544-1628 of Sebastian Munster and in
his Editions of Ptolemy’s Geographia 1540-1552”
Imago Mundi, Volume 16, (1962).
SEBASTIAN MÜNSTER
Sebastian Münster (1488-1552) was a cosmographer
and professor of Hebrew who taught at Tübingen,
Heidelberg, and Basel. He settled in the latter in
1529 and died there, of plague, in 1552. Münster
made himself the center of a large network of
scholars from whom he obtained geographic de-
scriptions, maps, and directions.
As a young man, Münster joined the Francis-
can order, in which he became a priest. He then
studied geography at Tübingen, graduating in 1518.
He moved to Basel, where he published a Hebrew
grammar, one of the irst books in Hebrew pub-
lished in Germany. In 1521 Münster moved again, to
Heidelberg, where he continued to publish Hebrew
texts and the irst German-produced books in
Aramaic. After converting to Protestantism in 1529,
he took over the chair of Hebrew at Basel, where he
published his main Hebrew work, a two-volume Old
Testament with a Latin translation.
One of Münster’s innovations was to include
one map for each continent, a concept that would
inluence Ortelius and other early atlas makers. The
Geographia was reprinted in 1542, 1545, and 1552.
He is best known for his Cosmographia universalis,
irst published in 1544 and released in at least 35
editions by 1628. It was the irst German-language
description of the world and contained 471 wood-
cuts and 26 maps over six volumes. The Cosmographia
was widely used in the sixteenth and seventeenth
centuries. The text, woodcuts, and maps all inlu-
enced geographical thought for generations.
53
54 55
 FRE NCH - L A NG U A G E E X A M PL E O F O RT E L IU S’ T HE AT RUM
19 Abrege du theatre D’Ortelius, Contenant la description des principales parties
Antwerp / 1602 DESCRIPTION
A handsome example of the 1602 French-language
DIMENSIONS miniature Ortelius Theatrum, published by Johan
11” x 7” Baptiste Vrients following his acquisition of the text
and plates, which had been previously been pub-
lished by Philippe Galle in 1598.
COLOR
Vrients became heavily involved in the disposition
Uncolored
of the Ortelius estate following the latter’s death
in 1598. In 1601, he acquired the plates for and
CONDITION evidently some text for the Epitome. He would also
VG take over printing of the folio Theatrum.
STOCK NO. Van Der Krogt notes:
75326
Identical to 332:03 [the Galle 1598 edition] (printed from
AUTHOR the same setting). However, the original preliminary section
was replaced by an extra gathering “A” with three maps, and
Abraham Ortelius
/ Johannes Baptis- many maps were replaced by newly engraved ones. The 1601
ta Vrients French edition mentioned in the irst edition of the Atlantes
Neerlandici (vol. III, p. 77, Ort 59) proved to be a 1601
Latin edition.
The book includes the newly prepared world map,
of which Shirley (231) notes:
In 1601 the plates for Ortelius’ Epitome were acquired
for printing by Jan Baptist Vrients, who later took over the
larger plates of his Theatrum. The miniature oval world map
(Ortelius-Galle (2)) introduced in 1588 was retained and
an additional small double-hemispherical world map inserted.
Although this has no title the words Globus Terrestris or
their translation are printed in the margin at the head of the
map. Beneath the two hemispheres is a scene showing trees
and parkland in the centre of which stands a church.
It is worth noting that the correction in New
Koeman means that the Shirley entry for a French
edition of the map from 1601 is now erroneous.
The irst French-language edition of the map was in
this 1602 atlas.
PROVENANCE
Sir William Stirling-Maxwell, 9th Baronet, of Pollock
(1818-1878); Private American collection
56
CONDITION DESCRIPTION
Oblong octavo. 19th-century full calf with the arms
of Sir William Stirling-Maxwell, 9th Baronet, of
Pollock (1818-1878) on the front cover and “WS” in
an elaborate tool on the back cover (see University
of Toronto, British Armorial Bindings: https://
armorial.library.utoronto.ca/stamp-owners/STI003).
(Rehinged with brown cloth. Some wear at the
binding edges. AEG.) Bookplate of William Stirling
(“Gang Forward”) on front pastedown. 126 maps, 3
unnumbered maps, 118 numbered 1-118, and appen-
dix of 5 unnumbered maps. Signed $, $2, $3, $4 and
$5. Map with letterpress title in Latin on recto, text
on verso (of the preceding map) with letterpress title
in French.
ABRAHAM ORTELIUS
Abraham Ortelius is perhaps the best known and
most frequently collected of all sixteenth-century
mapmakers. Ortelius started his career as a map
colorist. In 1547 he entered the Antwerp guild of St
Luke as afsetter van Karten. His early career was as a
business man, and most of his journeys before 1560,
were for commercial purposes. In 1560, while trav-
eling with Gerard Mercator to Trier, Lorraine, and
Poitiers, he seems to have been attracted, largely by
Mercator’s inluence, towards a career as a scientiic
geographer. From that point forward, he devoted
himself to the compilation of his Theatrum Orbis
Terrarum (Theatre of the World), which would
become the irst modern atlas.
In 1564 he completed his “mappemonde”, an
eight-sheet map of the world. In 1573, Ortelius
published seventeen supplementary maps under the
title of Additamentum Theatri Orbis Terrarum. In
1575 he was appointed geographer to the king of
Spain, Philip II, on the recommendation of Arias
Montanus, who vouched for his orthodoxy (his
family, as early as 1535, had fallen under suspicion
of Protestantism). By the time of his death in 1598,
a total of 25 editions were published including edi-
tions in Latin, Italian, German, French, and Dutch.
Most of the maps in Ortelius’ Theatrum were drawn
from the works of a number of other mapmakers
from around the world; a list of 87 authors is given
by Ortelius himself
57
 O NE O F T H E G RE A T DU T CH PO CKE T A T L A SE S
20 P. B e r t i i Ta b u l a r u m G e o g r a p h i c a r u m C o n t r a c t a r u m L i b r i Q u i n q u e . . .
Amsterdam / 1606 DESCRIPTION
The inal lifetime Latin edition of Cornelis
DIMENSIONS Claesz’s famous Caert-Thresoor, one of the greatest
11” x 7” Dutch pocket atlases ever produced.
This atlas includes an impressively diverse comple-
ment of maps: 2 world maps, 1 map of the heavens,
COLOR
113 maps of Europe, 16 maps of Africa, 27 maps
Uncolored
of Asia, 15 maps of America. Of particular note
are the separate map of the Philippines, and the map
CONDITION Terra Nova (Canada) after the Plancius of the North
VG Atlantic. The inal maps in the atlas are wonderful
as well. The third-to-last map is a wonderful pre-Le
STOCK NO. Maire rendering of the Strait of Magellan follow-
71295 ing Linschoten’s map of South America. The last
map atlas “Ins. Vaygats” shows the discoveries of
AUTHOR Linschoten’s second voyage (1595) in search of the
Petrus Bertius / Northeast Passage.
Cornelis Claesz / The work is varyingly credited to Barent Langenes
Barent Langenes and Cornelis Claesz, as both had important roles in
its production. The maps themselves were engraved
by Van Der Keere and Jodocus Hondius.
Schilder (page 464), notes of the Latin edition:
[F]or the Latin edition, the production again took place
in Amsterdam, though this time in collaboration with a
publisher in Arnhem, Jan Jansz. For that edition, the scholar
Petrus Bertius (1565-1629) made a completely new geograph-
ical description of the whole world. Moreover, the maps then
served as illustrations, unlike previous editions in which the
text was meant to explain the maps.
The Latin Bertius edition was irst published
in 1600, with a subsequent edition in 1602-3, and
the present inal edition in 1606. The third edi-
tion includes a more extensive treatment of Spain.
Interestingly, Claesz had originally asked Paullus
Merula to translate the Caert-Thresoor into Latin,
and surprisingly, Merula refused.
Koeman (Lan 7) says the image of Baixos de Iudia
should be lacking in this edition, though here it is
present on page 300. The other two engravings said
to be lacking from this edition, of the Escurial and ‘t
Huis de Britten are not present.
58
CONDITION DESCRIPTION
Oblong octavo. Full 17th-century vellum, repur-
posing a still-older vellum manuscript leaf. Early
ink manuscript inscription on front board: “petri
bertii Tabula geographicae | ex libris Antoniis [??]
ranchant presbiteri[?] anno 1700”. [16], 679, [9]
pages. Engraved title page (allegory of the four
continents, with portraits of Solinus, Ptolemaeus,
Maffei, Ortelius, Mercator, and Pliny) and complete
with 174 full-page engraved maps (The map of
Wales is omitted and the map of Valencia inadver-
tently included in its place, therefore appearing as a
duplicate.) Some pages with marginal restorations,
small marginal wormholes in a few leaves, a few faint
water stains. Upper margin of title page cut. A few
annotations. Latin text.
REFERENCE
Koeman/van der Krogt 341:53 ; Sijmons (Atlases
ULA) 176; Koeman (Atlantes Neerl.) Lan 7
BARENT LANGENES
Barent Langenes was a Dutch publisher and
engraver at the turn of the seventeenth century.
He worked in Middleburg, Netherlands. He is best
known for his publication of Petrus Bertius’ Caert-
Thresoor in 1598. This pocket world atlas was small,
printed in the vernacular, and was more affordable
than folio-sized competitors, allowing more people
to own and use atlases. The atlas was a commercial
success and was printed twelve times in Dutch,
French, Latin, and German editions between 1598
and 1650, although Langenes was most likely only
involved in the irst two Dutch editions (1598 and
1599).
59
 DUT CH PIRA T E D E DIT IO N O F SA NSO N’ S FO U R AT L ASE S
21 L’ E u r o p e , L’ A s i e , L’ A f r i q u e , L’ A m e r i q u e e n P l u s i e u r s N o u v e l l e s e t E x a c t e s
Paris (Utrecht) / 1683 DESCRIPTION
A handsome example of the 1683 Dutch pirated
DIMENSIONS edition of Nicholas Sanson’s four continental atlases,
6.5” x 8.5” of Europe, Asia, Africa, and the Americas. These are
the books with which Nicholas Sanson started his
career as an atlas publisher.
COLOR
All of the maps in this series have been reen-
Hand Colored
graved by A. de Winter.
This edition was probably published in Utrecht
CONDITION by François Halma who was responsible also for
VG+ the Utrecht and Amsterdam editions in 1692, 1699,
1700, and 1710. It has also been suggested that
STOCK NO. Simon Ribbius was the publisher, as he used the
69477 plates in another work in 1683.
The fact that the Dutch were producing knockoff
AUTHOR Sanson atlases in the latter half of the 17th century
Nicolas Sanson speaks to the high regard in which Dutch cartogra-
phy was held at the time.
CONDITION DESCRIPTION
Four parts in one volume. Octavo. Contemporary
full calf, spine in six compartments separated by
raised bands, red morocco lettering-piece in the
second “GEOGRAPH / PAR / SANSON”, other
compartments tooled in gilt in a loral design (joints
starting but holding, small losses at head and foot
of spine). Europe: engraved title (small marginal
repaired loss), title, dedicatory leaf, 52, [1] pages
of text and maps (11 engraved maps with original
outline hand-color). Asia: 102, [2] pages, and 18
engraved maps with original outline hand-color.
Africa: 98, [1] pages, and 18 engraved maps with
original outline hand-color. America: 82, [1], [1,
instruction to binder] pages, 15 engraved maps in
original outline hand-color.
60
REFERENCE
Pastoureau Sanson VIIF (Europe); IIIF (Asia); IF
(Africa); IIF (America).
NICHOLAS SANSON
Nicholas Sanson (1600-1667) is considered the father
of French cartography in its golden age from the
mid-seventeenth century to the mid-eighteenth. Over
the course of his career he produced over 300 maps;
they are known for their clean style and extensive
research. Sanson was largely responsible for beginning
the shift of cartographic production and excellence
from Amsterdam to Paris in the later-seventeenth
century.
Sanson was born in Abbeville in Picardy. He made
his irst map at age twenty, a wall map of ancient
Gaul. Upon moving to Paris, he gained the attention
of Cardinal Richelieu, who made an introduction
of Sanson to King Louis XIII. This led to Sanson’s
tutoring of the king and the granting of the title inge-
nieur-geographe du roi.
His success can be chalked up to his geographic and
research skills, but also to his partnership with Pierre
Mariette. Early in his career, Sanson worked primar-
ily with the publisher Melchior Tavernier. Mariette
purchased Tavernier’s business in 1644. Sanson worked
with Mariette until 1657, when the latter died. Mariette’s
son, also Pierre, helped to publish the Cartes générales
de toutes les parties du monde (1658), Sanson’ atlas and
the irst French world atlas.
61
 E X Q UISIT E DU T CH CO L O R PO CKE T A T L A S
22 D e s c r i p t i o n d e t o u t L’ U n i v e r s e n p l u s i e u r s c a r t e s . . .
Amsterdam / 1700 DESCRIPTION
A beautiful miniature Halma edition of a Sanson
DIMENSIONS gentleman’s pocket atlas in exquisite full contempo-
7” x 9” rary Dutch color.
The volume includes Sanson’s pocket atlas, with
Bion’s useful work on globes. Although this atlas is
COLOR
always listed under Nicolas Sanson, it is essentially
Hand Colored
Francois Halma’s plagiarized pocket version of the
Sanson atlas, with the map divided into continent
CONDITION groups. Halma (1653-1722) also reprinted Mercator’s
VG+ Ptolemy and Bonfrere’s Geography for the growing
French market.
STOCK NO. The engraved allegorical title-page has caused
68884 some confusion among catalogers in the past, as it
includes the date “1760”. In all likelihood, this is an
AUTHOR inversion of 1706 or some similar error, as Halma
was dead by 1722. Neither the coloring nor anything
Guillaume Sanson
else about the book suggests that it was published
/ Francois Halma
after 1720.
PROVENANCE
Baltazar Ciecierski (born 1680), court oficial of
Drohiczyn, in Poland (inscribed on irst dedication
leaf “Ex biblioteca M. Balthasaris Ciecierskei [...]”);
Jean R. Perrette, famed atlas and travel book collec-
tor. His sale, Christie’s New York, 2016.
62
CONDITION DESCRIPTION
Small quarto. Contemporary calf (rebacked, old
spine laid down). 6 parts in one volume, includ-
ing Bion’s L’Usage des globes and Luyts’ Tables.
Double-page letterpress title printed in red and
black with engraved vignette, hand-colored initials
and headpieces, double-page engraved frontis-
piece (dated 1760) and 72 (of 74) maps (lacking
“Amerique Septentrionale” and “Isles Bermudes”),
the Bion with one double-page celestial map and 14
diagrams (10 folding), all in beautiful original hand-
color. (Some light browning.)
REFERENCE
See Koeman Hal 1; Phillips, Atlases, 528.
GUILLAUME SANSON
The son of famous French cartographer Nicolas
Sanson, Guillaume (1633-1703) carried on his
father’s work. Like his sire, he was a court geogra-
pher to Louis XIV. He often worked in partnership
with another prominent cartographer of the time,
Hubert Jaillot.
63
 SA NSO N’ S VE RY RA RE E L E M E NT A RY A T L A S
23 Introduction à la géographie en plusieurs cartes avec leur explication.

Paris / 1705 DESCRIPTION CONDITION DESCRIPTION

Elementary Atlas with Many Maps of the World, Slight browning throughout, minimal staining in
DIMENSIONS Its Hemispheres, Poles, Etc. in Different Projections. places, tear to white margin of 1 map.
7.75” x 10” Quarto (10 x 7.75 inches). Contemporary calf,
spine richly gilt (somewhat rubbed and worn, head REFERENCE
of spine chipped, rear joint partly split). Engraved Tooley, Mapmakers IV, page 104 (1710), Pastoureau
COLOR
title and 25 double-page engraved maps colored in page 234 (in Mortier’s “Atlas nouveau”).
Outline Color
outline.
Pierre Moullart-Sanson, the nephew of Guillaume
CONDITION Sanson, expanded on the work of his uncle.
VG+
The maps are dated 1696-1704. The world maps depict
STOCK NO. California as an island (see McLaughlin 125-126) and
61256 Australia.

AUTHOR Though very rare, this work appeared in multi-

Pierre Moul- ple editions. A ixed set of collations has not been
lart-Sanson established, but completeness can be assumed, as
this copy matches that in the Bibliotheca Angelica,
Rome.

64 65
 SCARCE TOP SECRET BIGOT-RATED WWII MAP
24 ( W o r l d W a r I I - O p e r a t i o n D r a g o o n ) R a d e D ’ A g a y To p S e c r e t - B i g o t

n.p. / 1944 DESCRIPTION Both the map and the key are rated “BIGOT
This map and view sheet covers the U.S. invasion TOP SECRET”. Introduced during the Second
DIMENSIONS of southern France (Operation Dragoon), at Camel World War, BIGOT was the highest-level military se-
19 ” x 26” Beach, in the vicinity of St. Tropez. curity classiication, above Top Secret. Some sources
The side of the sheet with views includes suggest that it was an acronym for “British Invasion
four isometric perspectives on the relevant part of of German Occupied Territory;” others, that it was
COLOR
southern France, with the most general stretch- a “backronym” for “To Gib,” the code stamped
Colored ing from Cavalaire Sur Mer to Antheor, including on the papers of oficers headed to Gibraltar in
Saint-Tropez. The views get more focused as one advance of the 1942 North Africa invasion.
CONDITION moves up the sheet and the view at the top shows a Whatever the origins of the term, extraordinary
Good detailed treatment of the defenses around Calangue efforts were made to protect BIGOT-level material.
d’Antheor. When for example a practice landing (“Operation
STOCK NO. On the other side of the sheet, the map depicts Tiger”) on the Devon coast was ambushed by
71410 several landing zones and relevant shore defenses, U-Boats, Eisenhower himself ordered the recovery
such as gun emplacements, pillboxes, fortiications, of the bodies of the ten known victims with BIG-
AUTHOR etc. OT clearance. This was necessary to prove that they
19th Field Survey A manuscript “O’Connel” next to one of the had not been captured alive, as their capture would
Company landing zones hints at the battle-used nature of the have compromised the invasion plans and necessitat-
map. ed its cancellation.
This area was the site of landings for Camel
Force and Delta Force during the Allied invasion CONDITION DESCRIPTION
of southern France, known as Operation Dragoon, Wear and some small separations at old folds. Some
on August 15, 1944. Speciically, Rade D’Agay was toning. Printed front and back.
called Camel Beach and saw the landing of the 36th
Infantry Division.
In the eastern sector of Operation Dragoon,
Camel Beach saw the heaviest action. This beach
was defended by several well-emplaced coastal guns,
as well as lak batteries. Through heavy German ire,
the Allies attempted to land at the shore. However,
at sector Red of the Camel Beach landing zone, the
Allies were not able to succeed. A bombing run of
90 Allied B-24 bombers was called in against a Ger-
man strongpoint here. Even with the assistance of
naval ire, the Allies were not able to bring the land-
ing ships close to the shore. They decided to avoid
Camel Red and land only at the sectors of Camel
Blue and Camel Green, which was successful.

66 67
 T H E 11 2 0 T H E N G I N E E R C O M B AT G R O U P I N E U R O P E
25 Engineers in France | Engineers in Belgium | Engineers on the German Border
n.p. / 1945 DESCRIPTION
This is a truly outstanding work consisting of three
DIMENSIONS booklets, each showcasing the role of the 1120th
21 ” x 12.5” Engineer Combat Group, attached to the VII Corps,
in the liberation of Europe. The three volumes
included many lithographed sketches regarding
COLOR
the 1120th’s time in France, Belgium, and Germa-
Hand Colored
ny. This work was presented to Colonel Mason J.
Young, whose name is inscribed on the inside front
CONDITION cover of each work.
VG The front covers of each of these works are
hand-decorated. The artistic style is exemplary
STOCK NO. in each instance. For the French volume, tricolor
68174 ribbons write “Engineers” in marvelous, lowing
print. The Belgian volume is more rigid and serious,
AUTHOR while the German volume chooses a modern style
Anonymous and a harsher print. The same chateau appears on
each cover, and its design varies from the elegant to
the imposing. This may have been a symbol of the
1120th Engineer Combat Group, or simply a symbol
chosen to represent the soldiers’ time in Europe.
The drawings lithographed are, again, of
outstanding quality. These were produced by Staff
Sergeant Rudy Wedow in August through February
of 1944 and 1945 and lithographed in those years
by the 663rd Engineer Corps. It is obvious that a
talented engineer’s hand drew these; many of the
sketches capture aspects of a soldier’s work that a
photograph could never hope to convey. From a set
of sketches showing the destruction of a pillbox, to
soldiers sweeping a road for mines, these show parts
of the war which often escape notice. One work
stands perhaps even above the rest, the depiction
of engineers planning for the crossing of the Rhine,
in German Border, Sketch 1. The relationships be-
tween the four soldiers hard at work can be divined,
and their youthful attention to their craft is under-
stood by the viewer.
68
The text accompanying these works provides
additional fascinating information regarding the
images. The compiler chose to record the exact loca-
tion of many of the sketches, as well as the compa-
ny of engineers involved in many constructions or
demolitions. The conditions in which the engineers
worked and the progress of the campaign are also
recorded.
Mason J. Young, to whom this book was
undoubtedly presented, graduated from West Point
in with the Class of 1944, part of Cadet Compa-
ny F2. He served as a commanding oficer of the
VII Corps of Engineers, a distinguished unit that
served at Utah Beach, in the Cherbourg campaign,
the assault on Aachen, and numerous other places
in France. Young would receive the Bronze Star
for Valor after being wounded in France, a medal
he would again receive for service in Korea and
Vietnam.
CONDITION DESCRIPTION
Volume 1, Number 1 not included. Volume 1,
Number 2 includes 8 lithographed sketches. Volume
1, Number 3 includes 8 lithographed sketches.
Volume 1, Number 4 includes 12 lithographed
sketches. 19 looseleaf lithographed sketches are also
included, some of which are also included in the
volumes.
69
 MARS BY THE AUDOBON OF THE SKY
26 The Planet Mars
New York / 1882 DESCRIPTION
Beautiful four-stone color lithograph of the planet
DIMENSIONS Mars, by Etienne Trouvelot, relating his observations
38.2 ” x 28.4” during the Great Martian Opposition of 1877, an
event that sparked decades of intense study of the
planet.
COLOR
The chromolithograph was published as part of
Colored
Trouvelot’s Astronomical Drawings set of 15 plates
by Charles Scribner’s Sons in 1882.
CONDITION The lithograph was made from a drawing done
VG by Trouvelot on September 3rd, 1877, at 11:55 PM,
during the so-called “Great Opposition” of Mars.
STOCK NO. That event was extremely important to the early
68380 study of Mars because of the unusual proximity of
the planet vis-a-vis Earth. This allowed for improved
AUTHOR observation of Mars, especially since new, more
Etienne Leopold powerful telescopes (such as the 26-inch refractor at
Trouvelot the U.S. Naval Observatory) had gone into operation
since the last opposition in 1860.
Trouvelot made his observation two days before
Mars was in total perihelic opposition on September
5. At that point, it was only 35 million miles away
from earth.
The Opposition of 1877 resulted in two major
discoveries and several other important indings.
The most important was Asaph Hall’s discoveries of
Mars’s two moons, Phobos and Deimos. Giovanni
Virginio Schiaparelli, the Italian astronomer, made a
landmark study of the planet during the opposition,
which resulted in his discovery of the Martian canali
(or channels), which became popularly known as the
Martian canals, and led to decades of theories about
life on Mars.
Percival Lowell continued the work of studying
the Martian channel structures in the 1890s from a
private observatory in Flagstaff, Arizona. His draw-
ings of the planet are redolent of Trouvelot’s and we
can infer an inluence.
Nathaniel Green, another artist and amateur
astronomer, made observations of Mars from
Madeira, using a 13-inch refractor. He drew a fairly
detailed map of the surface.
70
RARITY
Trouvelot’s prints were originally intended for the
astronomical and scientiic community and most of
the larger US observatories purchased copies of the
portfolio. In 2002, B.G. Corbin undertook a census
to determine the number of surviving copies of
the complete set of 15 prints and was only able to
conirm the existence of 4 complete sets.
Today, the individual prints are even rarer than
the complete sets; we ind no instances of the
present print having been offered separately either
by a dealer or at auction.
REFERENCE
DeWayne A. Backhus and Elizabeth K. Fitch:
Nineteenth Century E. L. Trouvelot Astronomical
Prints at Emporia State University, in Transactions
of the Kansas Academy of Science, Vol. 109, No.
1/2 (Spring, 2006), pp. 11-20.
ETIENNE LEOPOLD TROUVELOT
Trouvelot (1827-1895) was born in Guyencourt,
Aisne, France. During his early years he was
apparently involved in politics and had Republican
leanings. Following a coup d’état by Louis Napoleon
in 1852, he led or was exiled with his family to the
United States, arriving in 1855. They settled in the
town of Medford, Massachusetts, where he worked
as an artist and nature illustrator. In both 1860 and
‘70 census, his occupation is listed as lithographer.
His interest in astronomy was apparently
aroused in 1870 when he witnessed several auroras.
When Joseph Winlock, the director of Harvard
College Observatory, saw the quality of his
illustrations, he invited Trouvelot onto their staff
in 1872. In 1875, he was invited to the U.S. Naval
Observatory to use the 26-inch refractor for a year.
During the course of his life he produced about
7,000 quality astronomical illustrations. 15 of his
most superb pastel illustrations were published by
Charles Scribner’s Sons in 1881. He was particularly
interested in the Sun, and discovered “veiled spots”
in 1875. Besides his illustrations, he published about
50 scientiic papers.
71
 THE STORMY PLANET
27 The Planet Jupiter
New York / 1882 DESCRIPTION
This is a rare chromolithograph of Jupiter from
DIMENSIONS Etienne Leopold Trouvelot’s original work depicting
38.2 ” x 28.4” celestial bodies, published in 1882.
Trouvelot’s portfolio is a work of artistic
brilliance far ahead of its time; many of the plates
COLOR
are redolent of the most dramatic and engaging
Colored
modernist paintings of the following century. In
addition to its aesthetic qualities, it is a scientiic
CONDITION work of great importance; Trouvelot’s magnum
VG+ opus stands a superlative celestial atlas and one of
the most impressive American color plate books
STOCK NO. ever published.
68390 The plates were lithographed by Armstrong
and Company of Boston under Trouvelot’s personal
AUTHOR supervision. Some of the plates can be directly
Etienne Leopold attributed to the lithographic artist E. Boyd Smith.
Trouvelot An estimated 300 sets of the prints were sold as
a portfolio for $125, although in a recent census
only four complete sets of plates were found in
institutions (see note on rarity). Trouvelot combined
to a rare degree the qualities of an excellent observer
and the skill of an accomplished artist. Solon Bailey
stated: “Trouvelot made beautiful drawings of
various other celestial objects, including total eclipses
of the Sun, the surface of the moon, planets, comets
and nebulae. These drawings show rare artistic
ability.”
Trouvelot’s portrayal of Jupiter is magniicent.
Readily visible are the many storm systems on the
planet, and the atmosphere of Jupiter is one of
the most interesting parts of the planet. High and
low-pressure systems, upwelling bands, anticyclonic
storms, and much more can be found all over the
planet. The Great Red Spot, prominently featured
in this work, has been known to exist since at least
1830, if not much earlier. The storm is ten thousand
miles across, large enough to encompass all of
Eurasia. Still little is known about the storm, or the
many other weather systems on the planet, despite
the extensive study regarding their nature.
Trouvelot’s work was published shortly before
the conirmation moons other than the Galilean
moons. The four moons that were already known,
irst described by Galileo, are much larger than the
rest. In 1892, E. E. Barnard observed Amalthea. It
72
is unclear if the dark spots shown and mentioned in
Trouvelot’s manual could be additional moons.
Trouvelot describes the work and phenomenon
as follows in his Trouvelot Astronomical Drawings
Manual:
This planet is perpetually wrapped in dense clouds which
hide its inner globe from view. The drawing shows Jupiter’s
outer clouded surface with its usual series of alternate light
and dark belts, the disk as a whole appearing brighter in
the centre than near the limb. The darker gray and black
markings indicate in general the lower cloud-levels; that is,
partial breaks or rifts in the cloudy envelope, whose prevailing
depth apparently exceeds four thousand miles. While the
deepest depression in the cloudy envelope is within the limits
of the Great Red Spot, the vision may not even here penetrate
very deeply. Two of Jupiter’s four moons present bright disks
near the planet’s western limb, and cast their shadows far
eastward on the disk, that of the “second satellite” falling
upon the Red Spot. On the Red Spot are seen in addition two
small black spots, no explanation of which can yet be offered.
The broad white ring of clouds bordering the Red Spot
appeared in constant motion. The central, or equatorial belt,
shows brilliant cloudy masses of both the cumulus and stratus
types, and the underlying gray and black cloudy surfaces are
pervaded with the pinkish color characteristic of this belt.
The dark circular spots on the wide white belt next north
showed in their mode of formation striking resemblances to
sun-spots. They afterward coalesced into a continuous pink
belt. The diffusion of pinkish color over the three northern
most dark bands, as here observed, is unusual. About
either pole is seen the uniform gray segment or polar cap.
The equatorial diameter is noticeably longer than the polar
diameter, a consequence of the planet’s extraordinary swiftness
of rotation. To the same cause may also be due chiely the
distribution of the cloudy belts parallel to the planet’s equator,
though the analogy of the terrestrial trade-winds fails to
explain all the observed phenomena.
73
 THE RINGED PLANET BY THE AUDUBON OF THE SKY
28 The Planet Saturn

New York / 1882 DESCRIPTION
Trouvelot’s portrayal of Saturn is stunning. The
DIMENSIONS rings of ice and dust can be clearly and attractively
28.4 ” x 38.2” seen. These are visually unique in the solar system
(though most of the giant planets have similar
structures), of which the origins are still uncertain.
COLOR
Scientists still debate as to whether these are the
Colored
remnants of a destroyed moon of Saturn or pro-
toplanetary material that never amalgamated. The
CONDITION surface of Saturn itself is smoother and less violent
VG+ than that of Jupiter, with its storms more temporary
and transient in nature.
STOCK NO. Saturn was the furthest planet from the sun for
68384 which any detail was available to astronomers in the
19th century. Uranus had been visible to the naked
AUTHOR eye to the ancients, but mistaken for a ixed object,
Etienne Leopold as had the Galilean discovery of Neptune. Further,
Trouvelot these planets possess far fewer features due to their
ice giant nature. As such, this portrayal of a planet
850 million miles away was the furthest object which
could be portrayed accurately and at a (relatively)
small scale.
Trouvelot describes the work and phenomenon
as follows in his Trouvelot Astronomical Drawings
Manual:
Saturn is unique amongst the planets in that its globe is en-
circled by a series of concentric rings which lie in the plane of
its equator, and consist, according to present theories, of vast
throngs of minute bodies revolving about the planet, like so
many satellites, in closely parallel orbits. The globe of Saturn,
like that of Jupiter, is surrounded by cloudy belts parallel to
its equator. The broad equatorial belt, of a delicate pinkish
tint, is both brighter and more mottled than the narrower
yellowish white belts, which alternate with darker belts of ashy
gray on both the north and south sides, but are seen here only
on the northern side. The disk has an oval shape, owing to the
extreme polar compression of the globe.

74 75
 A SOLAR EJECTION
29 Solar Protuberances.
New York / 1882 DESCRIPTION
This is a beautiful color lithograph showing ejec-
DIMENSIONS tions from the outermost layer of the sun, made
28.4 ” x 38.2” by Etienne Trouvelot and relating his observations
made in the spring of 1873. The chromolithograph
was published as part of Trouvelot’s Astronomical
COLOR
Drawings set of 15 plates by Charles Scribner’s Sons
Colored
in 1882.
CONDITION Solar prominences are vast structures, hundreds of
VG+ thousands of miles in length, which are often loop-
shaped. These extensions of cooler plasma are still
STOCK NO. mysterious, and while their properties are somewhat
68386 understood, why they form is not. They exist for
weeks to months and can produce coronal mass
AUTHOR ejections.
Etienne Leopold
Trouvelot Records of observed solar protuberances exist from
at least the 12th century, if not earlier. These are
most obviously visible during eclipses, and by the
18th century they were studied regularly. The irst
hypothesis as to their existence was that they were
clouds in the lunar atmosphere. Trouvelot apparently
did not base his work solely off of an eclipse, with
his date of May 5th, 1873 not corresponding to an
ecliptical date, though he did make some relevant
observations during the May 5th, 1878 lunar eclipse.
76
Trouvelot provides a useful description of the
phenomena shown as follows in his Trouvelot Astro-
nomical Drawings Manual:
A view of an upheaval of the chromosphere, or third outlying
envelope of the sun, as observed with the…telescope with
spectroscope attached.
The black background represents the general darkness
of the eye-piece to the spectroscope. The broad red stripe
stretching from top to bottom of the Plate is a portion of
the red band of the spectrum, magniied about 100 times as
compared with the actual spectroscopic view. The upper and
lower edges of the cross-section of dusky red correspond with
the edges of the slit, opened widely enough to admit a view
of the chromospheric crest and of the whole height of the
protuberance at once. With a narrower opening of the slit
this background would have been nearly black, its reddish cast
increasing with the amount of opening and consequent admis-
sion of diffused sun-light. Rising above the lower edge of the
opening is seen a small outer segment of the chromosphere,
which, as a portion of the sun’s eastern limb, should be imag-
ined as moving directly towards the beholder. The seams and
rifts by which its surface is broken, as well as the distorted
forms of the huge protuberances show the chromosphere to be
in violent agitation. Some of the most characteristic shapes
of the eruptive protuberances are presented, as also cloud-
like forms overtopping the rest. In the immediate foreground
the bases of two towering columns appear deeply depressed
below the general horizon of the segment observed, showing an
extraordinary velocity of motion of the whole uplifted mass
toward the observer. The highest of these protuberances was
126,000 miles in height at the moment of observation. The
triple protuberance at the left with two drooping wings and a
tall swaying spire tipped with a very bright lame, shows by
its more brilliant color the higher temperature (and possibly
compression) to which its gases have been subjected. The
irregular black bands behind this protuberance indicate the
presence there of less condensed and cooler clouds of the same
gases. The dimmer jets of lame rising from the chromosphere
are either vanishing protuberances, or, as in the case of the
smallest jet shown at the extreme right of the horizon, are the
tops of protuberances just coming into view.
77
 THE LEONIDS
30 The November Meteors
New York / 1882 DESCRIPTION
This is a beautiful color lithograph showing a meteor
DIMENSIONS shower, made by Etienne Trouvelot and relating his
28.4 ” x 38.2” observations made one night in November of 1868.
The chromolithograph was published as part of
Trouvelot’s Astronomical Drawings set of 15 plates
COLOR
by Charles Scribner’s Sons in 1882.
Colored
“Stars were falling and random, speeding along
brief vectors from their origins in night to their
CONDITION destinies in dust and nothingness” -- Cormac McCa-
VG+ rthy’s Description of the Leonides
The present image shows the Leonides, a
STOCK NO. meteor shower that occurs regularly in November.
68382 As the earth crosses the trajectory of the comet
Tempel-Tuttle, the debris left behind by the passage
AUTHOR of the comet rains down on the earth. The shower
Etienne Leopold draws its name for the constellation Leo, from which
Trouvelot it is radiant.
The Leonides are strongest approximately once
every 33 years, coinciding with the period of its
parent comet. The 1833 shower irst drew popular
attention to the phenomena and was particularly
strong in North America. This event featured often
in the literature of the time, Faulkner cites 1833
as “Yr. stars fell” in Go Down, Moses. Trouvelot
completed his work two years after the large 1866
event and portrayed meteors that fell over the course
of ive hours.
78
Trouvelot provides a useful description of the
phenomena shown as follows in his Trouvelot Astro-
nomical Drawings Manual:
A partially ideal view of the November Meteors, combining
forms observed at different times during the night of Nov.
18th, 1868. It is not, however, a fanciful view, since a much
larger number of meteors were observed falling at once during
the shower of November, 1833, and at other times. The
locality of the observation is shown by the Polar Star seen
near the centre of the Plate, and Cassiopeia’s Chair at the
left. The general direction of the paths of the meteors is from
the north-east, the radiant point of the shower having been in
the constellation Leo, beyond and above Ursa Major. While
the orbits of the meteors are, in general, curved regularly and
slightly, several are shown with very eccentric paths, among
them one which changed its course at a sharp angle. In the
upper left-hand corner appear two vanishing trails of the
“ring-form,” and several others still further transformed into
faint luminous patches of cloud. Red, yellow, green, blue and
purple tints were observed in the meteors and their trails, as
represented in the Plate.
79
 LAFRERI SCHOOL MAP OF WESTERN EUROPE
31 La vera descritione, di tutta la Francia, & la Spagna, & la Fiandra ... MDLIIII . .
Rome / 1554 DESCRIPTION
This is a spectacular Italian-published map of
DIMENSIONS western Europe from 1554. It displays classic
18.9” x 14.7” hallmarks of the Lafreri School style of engraving,
most notable in its hydrographic and topographic
representations; this work is attributed to Antonio
COLOR
Lafreri himself.
Uncolored
The detail on the map starts at the Rhine River
and encompasses all of France and Spain, as well as
CONDITION some of Italy. Important cities and towns are named
VG throughout, with larger cities depicted pictorially.
Additional pictorial elements are included: three
STOCK NO. ships are shown in the ocean, and the Towers of
Hercules loom over the Mediterannean.
75613
The title describes the map as:
AUTHOR
The true description of all France, Spain, and Flanders,
Antonio Lafreri
showing the Cities, Oceans, Rivers, and Ports in each. The
other parts which surround them are only placed so as to
locate these areas. Each item on the map was diligently made
and measured.
This map is an updated version of the map engraved
by Enea Vico and published in Rome in 1542.
Most prior research, including Bifolco and Ronca,
attributes the map to Antonio Lafreri. This is
supported by its appearance in the c. 1574 Lafreri
catalog, wherein it is listed as “Una Parte d’Europpa”
[A Part of Europe].
No later states or updated editions of this map are
known to exist.
80
RARITY
According to RBH and OldMaps.com, the map has
not appeared on the market in over a decade. An
example at sold at Christie’s in 2006 for €2,040.
CONDITION DESCRIPTION
Trimmed close to image. Tear in the upper portion
of the map, slightly into image.
REFERENCE
Cartograia e Topograia del XVI Secolo (Bifolco
and Ronca, 234)
ANTONIO LAFRERI
Antonio Lafreri (1512-1577) (also known as Antoine
Lafréry and Antoine du Pérac Lafréry) was a French
mapmaker, engraver, and publisher who worked in
Italy. Lafreri was born in Franche-Comté and moved
to Rome around 1540. Lafreri sold sheet maps but
he also bound maps into books for his clients based
on their interests and needs. These are the famous
Lafreri atlases, important pre-cursors to the modern
atlas. He also published well known works such as
the Speculum Romanae Magniicentiae (ca. 1575), a
collection of engraved views and images of Rome.
Lafreri was well-connected to the cartographic
networks of the time, collaborating with Giacomo
Gastaldi, Battista Agnese, Antonio Salamanca, Do-
nato Bertelli, Paolo Forlani, and others.
81
 LAFRERI SCHOOL MAP OF FRANCE
32 To t i u s g a l l i a e d e s c r i p t i o , c u m p a r t e A n g l i a e , G e r m a n i a e , F l a n d r i a e , B r a b a n t i a e , I t a l i a e . . . . .

Venice / 1563 DESCRIPTION CONDITION DESCRIPTION

Very rare Lafreri School map of France by Domeni- Trimmed to the neatline with margins extended in
DIMENSIONS co Zenoi, published in Venice in 1561. the typical Lafreri style.
20” x 15”
The map depicts all of France, Northern Italy, and RARITY
the Low Countries. Rome is in the far bottom-right Bifolco & Ronca (2018) record the following
COLOR
corner and Wales is in the upper-left. examples of the second state: Atlante Aragona;
Uncolored Basilea, Universitatbibliothek; Chicago, Newberry
The map is based, probably indirectly, on the 1525 Library; Londra, British Library; Modena, Biblioteca
CONDITION Oronce Fine map of France. It is likely that its more Estense; Roma, Biblioteca Apostolica Vaticana;
VG+ direct antecedent was Giovanni Andrea Vavassore’s Venezia, Marciana; Venezia, Museo Correr; Vienna,
1536 version of the Fine France. Although the map Österreichsche Nationalbibliothek; Wroclau,
STOCK NO. is reduced in size from those, it has all of the same Uniwersytet; and the present example.
74214 information condensed into a smaller format. Many
toponyms are written in French. REFERENCE
AUTHOR
Bifolco & Ronca (2018), 371, state 2 (of 2).
Oronce Fine / Unlike the copy by Pirro Ligorio, the title here indi-
Domenico Zenoi cates the author of the model map: Oronce Fine.

Per Bifolco & Ronca (2018) there are two states of

the map:

1. Imprint: Dominicus Zenoi Venetus Excidebat,

MDLXI
2. date changed to: MDLXIII

This is an example of the second state.

82 83
 ONE OF THE EARLIEST KNOWN MAPS OF THE PAYS BLASOIS
33 Description du pais Blaisois

Tours / 1591 DESCRIPTION LA THEATRE FRANCOYS

Rare map of the area around the Amboise River This very rare volume is understood to be the irst
DIMENSIONS between Tour and Orleans. This work originally national atlas of France. Published in Tours during
13” x 18” appeared in the rare work by Maurice Bouguereau, the French king’s exile from Paris, this work reunites
Le Theatre Francoys, which is the irst national atlas of maps of northern and central France.
France.
COLOR
Many of the maps in the volume are copied from
Uncolored
Detail on the map is extensive, particularly in the earlier Ortelius and Mercator sources, although
number of towns and cities shown. Forests are some, particularly in the region around Tours, are
CONDITION shown pictorially. Many rivers and streams are original maps. These maps would be reused by later
VG+ depicted. authors, including Hondius, Blaeu, and Jansson. All
the maps in the text are engraved by Tavernier.
STOCK NO. Unlike most other maps in Le Theatre Francoys, this
75555 map is not copied from any previous work, and, The volume suffered from a lack of spatial
instead, it is based on original surveys. This makes it completeness, with much of the south of France
AUTHOR one of the earliest known maps of the region. lacking any coverage. While Bouguereau put a plea
Gabriel Tavernier for more maps in his introduction, subsequent,
/ Maurice Bou- In addition to an authorship statement, two Latin more complete editions of this work would not be
guereau / Jean text boxes appear on the map. The irst reads: published until well into the 17th century. The irst
Templois complete edition would appear in 1642 under the
Mathematicorum solertia compertum est, rotoe carpenti name Theatre Geographique due Royaume de France.
revolutionibus numeratis. partem cinguli terrae trecentesi-
mam sexagesimam leucas 25 complecti, id quod hac locorum
descriptione Verissimum deprehendimus. Cum enim ex in-
colarum sermoni-bus, oppidis singulis & paraeciis interualla
constituissemus, et partes tum longit tum latitu-dinis margini
attexuissemus initio Blesis sumto, quae partibus 47 32
dissitae sunt ab aequatore reperta est Biturigum civitas in ea
latitudine quam artiicum tabulae geographicae produnt Simi-
liter & Carnutum Constabit igitur ciculus orbis terre leucis
gallicis 9000 dimeties 2363 7/11 Supericies 25772743

The second text box reads:

Le Blaisois contient en longitude d’occident en Orient depuis

S. Ouin iusques a Brinon 25 lieues en latitude de l’equateur
vers le nord depuis Chasteauroux iusques a Rabestan 40
lieues.

84 85
 VISSCHER’S CARTE-A-FIGURES OF FRANCE
34 N o v a H a e c Ta b u l a G a l l i a e . . .

Amsterdam / 1633 DESCRIPTION CONTENTS

Highly decorative map of France, surrounded by Margins added. Restoration with some minor
DIMENSIONS vignettes of traditional French dress from the early facsimile at center of map and along several old
22” x 18.5” 17th Century, with city views at the top and bottom. folds.
Decorative and detailed map of France by one
of the best Dutch mapmakers of the early 17th
COLOR
Century.
Hand Colored

CONDITION
Good

STOCK NO.
61022

AUTHOR
Nicholaes
Visscher I

86 87
 LUNAR ORBIT SCIENTIFIC RECORDINGS MANUAL
35 Lunar Orbit Scientific Visual Observation Graphics for Apollo Mission
n.p. / 1970 DESCRIPTION
An extremely rare Apollo 13 visualization guide
DIMENSIONS for astronauts while they were in lunar orbit,
8” x 11” detailing the lunar features they would see, and the
scientiic observations they should record.
The atlas consists of a title page and 21 photo-
COLOR
graphs of the moon [one sheet has two photos,
Uncolored
another has none]. The ephemeral nature of the
atlas (loose sheets secured with a single staple) prob-
CONDITION ably contributes to the atlas’s extreme rarity; we ind
VG no copies listed in OCLC nor of any other copies
ever having been offered for sale.
STOCK NO. The atlas reads like an undergraduate geological
68100 ield guide. In it, photographs are shown and the
astronauts are asked to make speciic observations.
AUTHOR These observations include: the color of the moon’s
Aeronautical surface at a different area, the size of blocks ejected
Chart and Infor- from craters, and signs of volcanic activity. On the
mation Center last sheet, they are even asked to use a sextant to
measure the altitude of the Command and Service
Module (CSM) over a mare. These observations
would all have been of great use to scientists, but
they would have been made by scientiically inexpe-
rienced astronauts. As such, this atlas was produced
to help guide the observations that the astronauts
would make while in orbit. One sheet has a different
purpose: it is to be used to aid the astronauts while
making a TV broadcast during trans-Earth injection
so that they do not misidentify any features. It is
almost certain that a copy of this atlas would have
lown with the Apollo 13 crew.
The atlas was prepared for NASA by the
Aeronautical Chart and Information Center of the
U.S. Air Force.
88
The Apollo 13 Mission was the most infamous
of the Apollo missions, remembered for the epic
effort undertaken to save the lives of the three astro-
nauts after a spacecraft malfunction. The mission
was led by Jim Lovell, with Jack Swigert and Fred
Haise as command and lunar module pilots. This
was supposed to be the irst lunar mission to focus
on scientiic achievements, with the astronauts
having been given a brief introduction to geology
by Caltech scientist Lee Silver and NASA scientist
Farouk El-Baz, and extensive instructions as to what
they should record once in space.
The mission would go awry on the third day. The
astronauts had just done a televised tour of the
lunar module before checking their air tanks due to
a suspicious pressure reading. One of the oxygen
tanks subsequently exploded. This damaged parts
of the module and left the astronauts dangerously
low on oxygen and battery power, so the astro-
nauts were forced to abandon the moon landing.
The subsequent hours were spent trying to igure
out what the quickest and safest route home would
be, with extensive and dificult calculations needed
to solve the issue. The crew moved to the lunar
module, which they used as a lifeboat despite the
increasing dampness and cold. They would survive
there for the next few days, navigating using the
stars and landmarks on earth, before landing in the
Paciic Ocean. On earth, the crew members and
mission control staff became popular heroes, and
Apollo 13 still occupies a special place in the global
imagination.
CONDITION DESCRIPTION
Original staple removed with some rust residue.
89
 RA RE A PO L L O 14 G U IDE FO R A WA L K O N T H E M O O N
36 Apollo 14 Atlas, Images of the Fra Mauro Region and Geologic Explanation

n.p. / 1971 DESCRIPTION CONDITION DESCRIPTION

An extremely rare Apollo 14 extravehicular activ- Original staple removed with some rust residue.
DIMENSIONS ity [EVA] guide made for astronauts, detailing two
8” x 10.5” EVAs for each of the three possible landing sites
(one targeted, two contingency) in the Fra Mauro
Highlands.The atlas consists of two geological keys
COLOR
and ifteen photographs of the moon, with geo-
Uncolored
logical information and proposed routes overlain.
The ephemeral nature of the atlas (loose sheets
CONDITION secured with a single staple) probably contributes
VG to the atlas’s extreme rarity; we ind no copies listed
in OCLC nor of any other copies ever having been
STOCK NO. offered for sale.
68101 The map outlines the scientiic objectives and
routes of six different EVAs. The Lunar Module
AUTHOR would succeed in landing near the computer targeted
NASA landing site [LM-1], and thus the maps for the
backup landing sites were not needed. The irst EVA
for LM-1 documents a short walk no further than
a couple of hundred meters from the lunar lander.
The astronauts are given information about the
exact locations (“Rim intersection of large older 85
m crater and younger 65 m crater”) and descriptions
of what to collect (“[a] ‘football’ sized rock’”). They
are also given a series of general features to note,
such as the presence of “solder-like glass blebs.” For
the second EVA, they are given a much longer route,
a nearly mile-long round trip to the Cone Crater.
They had an extensive list of tasks to complete but
unfortunately were too exhausted to complete the
mission and turned back just before the crater rim.
The atlas was prepared for NASA by the USGS
Center for Astrogeology.

90 91
 A PO L L O 15 M O O N WA L K A T L A S
37 Hadley-Apennine Landing Site Apollo 15

Flagstaf / 1971 DESCRIPTION

An extremely rare Apollo 15 extravehicular activity
DIMENSIONS (EVA) atlas, detailing the projected routes of Apollo
8” x 10.5” 15’s three EVAs.
The atlas consists of a key sheet and 24 maps. The
ephemeral nature of the atlas (loose sheets secured
COLOR
with a single staple) probably contributes to the
Uncolored
atlas’s extreme rarity; we ind no copies list in OCLC
nor any other copies ever having been offered for
CONDITION sale.
XX A major theme in these images is the geological
observations made during the mission. The planned
STOCK NO. and contingency routes are shown alongside the fea-
68099 tures that the astronauts described back to the USGS
scientists on earth. Not only are geomorphological
AUTHOR features described, but also the presence of fans,
U.S. Geological lows, and a pluton. These maps are made in a stellar
Survey, Center for geological mapping style despite the limitations of
Astrogeology selenological mapping. Observations and routes are
shown on both topographic maps and areal images.

92 93
 A RARE PAMPHLET ON THE SUN AND EARTHQUAKES
38 C a r t e s e n C o u l e u r d e s L i e u x S u j e t s a u x t r e m b l e m e n t s d e Te r r e
Paris / 1756 DESCRIPTION
Extremely rare separately published pamphlet by
DIMENSIONS Jean Fabien Gautier D’Agoty, containing a complete
set of his maps from his Observations sur l’histoire
13.5 ” x 11”
(whole sheet) naturelle and a short treatise on the relationship
between earthquakes and the sun.
The present work is an extract from the 14th,
COLOR
15th and 16th parts of the Observations on Natural
Colored History published between November 1755 and
March 1756. The translation of the title is Color
CONDITION Maps of Places Subject to Earthquakes In all parts
VG of the World According to the System of the Solar
Impulse. The text describes a theory that earth-
STOCK NO. quakes are caused by solar impulses, a theory which
52293 Gautier D’Agoty had described as early as 1752.
AUTHOR As presented, the work consists of two parts:
Jean Fabien
Gautier d’Agoty Part 1: La Cause des tremblements de terre du souleve-
ment des Eaux et de l’affaissement de divers Terrains selon le
systême de l’impulsion des Rayons du Soleil. (The cause of
the earthquakes of the rising of the waters and the
subsidence of various earths according to the system
of the impulse of the rays of the sun).
Part 2: 4 maps, which were also issued in Obser-
vations sur l’histoire naturelle publiée in November 1755,
January 1756 and March 1756 (2 maps).
The maps and text illustrate the artists theory of
earthquakes, identifying numerous places through-
out the world where cities had been destroyed by
earthquakes. An overview of Gautier’s theory is set
forth below.
RARITY
All of Gautier D’Agoty’s works are rare on the
market, but this particular pamphlet appears to be
the rarest, with no auction records located.
The material is drawn from parts 14, 15 and
16 of Gautier D’Agoty’s Observations sur l’histoire
naturelle, which are very rare on the market. While
the irst 12 parts appear occasionally at auction, the
only auction record for a complete set (Parts 1-18)
sold at Bonhams in 2013 for 35,000 GBP and there
is no other record for an individual or partial set
containing the maps appearing at auction.
94
CONDITION DESCRIPTION
4 maps, title plus 6 pages of text.
GAUTIER D’AGOTY
Born in Marseilles in 1716, Gautier began his career
as a painter, before moving to printmaking, where
he became fascinating with the work of Jacob
Christoph Le Blon (1677-1741). Gautier offered his
theory that colored prints could be created in much
the same way as colored patterns were woven into
cloth.
Gautier’s major breakthrough was the use
of his technique to produce full color anatomical
illustrations for medical studies. He collaborated
with Jacques Francois Duverney, a lecturer in
anatomy at the Jardin du Roy.
Gautier’s work on anatomy earned him
considerable respect, earning him a place in the
Dijon Academy of Sciences. In 1752, he published
his critique on Sir Isaac Newton’s theory of
color-Chroa-génésie-in which he offered his theory
regarding the effects of the sun on the earth and
its atmosphere. According to Gautier’s theory, the
force of its rays generates planetary motion, and it
is the source of light and ire, substances with broad
signiicance and many uses according to his system.
Modiied, they create thunder, lightning, and such
geologic phenomena as volcanoes and earthquakes.
In 1749-50 he published his own treatise
on color, electricity, and a general theory of the
sciences; he also printed his exchanges with scientiic
societies-notably the Royal Society of London.
95
 RARE LUNAR GLOBE BY CAMILLE FLAMMARION
39 Globe de la Lune Dressé sous la direction de Camille Flammarion
Paris / ca. 1897 DESCRIPTION
The globe gores are printed by Casimir M.
DIMENSIONS Gaudibert (1823-1901) and Emile Beraux under
6” diam. the direction of Camille Flammarion, the famous
French populariser of science and astronomy during
the 19th century and founder, in 1883, of the private
COLOR
observatory of Juvisy-sur-Orge (now a French
Uncolored
historical monument).
This globe was produced primarily as a teaching
CONDITION instrument, as evidenced by the small, educational
VG format of the globe. The work collates the named
features of the moon, which students of astronomy
STOCK NO. would have had to learn in order to achieve
76991 proiciency in the subject.
A ine and rare 6-inch (15.2cm.) diameter moon
AUTHOR globe made up of twelve lithographed gores and
Nicolas Camille two polar calottes. The globe shows numerous
Flammarion craters in grey, the seas and oceans (Mares) of the
Moon demarcated by dotted stippling, and a “dark”
side of the moon with no geographical features
shown. Instead, the unmapped portion of the moon
contains a table of the 343 numbered craters with
names alongside a table of Principaux Eléments
comprising details about the size and orbit of the
moon.
Flammarion’s 6-inch globe was published in
Brussels in 1892 by Louis Niesten, in the present
Paris edition in around 1897, and again in 1903 in
Berlin by H. Albrecht. This circa 1897 edition was
produced by Casimir Gaudibert and Emile Bertaux,
two amateur astronomers who collaborated closely
with Flammarion on several projects. Bertaux
himself was a proliic manufacturer of globes.
An announcement in the 1893 Bulletin de la
Société astronomique de France mentions the
creation of the instrument in December of that
year.
RARITY
OCLC notes one example found in the BNF. We
have located three further examples in the EPFL
scientiic instrument archives, the London Science
Museum, and the University of Toronto Archives.
96
CONDITION DESCRIPTION
15cm (5 3/4-inch) diameter (1:23,000,000 scale) on
a late-19th-century bronze stand, raised on a turned
ebonized column and plinth base. The globe gores
are printed by C.M. Gaudibert and Emile Beraux.
NICOLAS CAMILLE FLAMMARION
Flammarion was one of the most important French
astronomers of the golden age of astronomical
observation in the late-19th and early-20th
centuries. He was a proliic author and popularizer
of astronomical discoveries. He also dabbled in
less-empirically-derived pseudosciences and science
iction. Flammarion published the magazine
L’Astronomie starting in 1882.
Flammarion was part of the intellectual
environment that produced Giovanni Schiaparelli
and Percival Lowell and shared their interest in the
supposed “canals of Mars”, which he believed were
of an artiicial nature. Furthermore, he believed that
Mars was home to an advanced civilization that had
engaged in advanced hydroengineering to attempt to
survive on a dying world. He also believed that the
Martians had attempted to communicate with Earth.
Flammarion entertained numerous apocalyptic
beliefs, on several occasions believing that Earth
would be destroyed, or at least all life killed, by
various cosmic phenomena.
Flammarion is also closely associated with the
famous wood engraving of a traveler putting his
head under the edge of the irmament discovering
the marvelous realm of circling clouds, ires, and
suns beyond the heavens. This anonymous wood
engraving is called the “Flammarion engraving”
because it appeared in his 1888 book L’atmosphère :
météorologie populaire (“The Atmosphere: Popular
Meteorology”).
97